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Piper (13 KP) rated Doctor Sleep (2019) in Movies
Nov 27, 2019
Impressive Casting (2 more)
Excellent Ending
Beautifully Shot
Ridiculous Running Time (1 more)
Low On Scares
Doctor Sleep: The Long Haul
Contains spoilers, click to show
Watch enough horror movies, and you develop a certain tolerance: that said, I don't think you'd have to watch many to see this film and still not be scared. There are a couple of grisly moments, and Flanagan does an excellent job of building tension, but I had the feeling coming out of this film that I hadn't just seen a horror film at all. And I think that might have been the point: this was more about the story than the scares.
The story, overall, was well-adapted. About two-thirds of the way in the film really starts to veer off the path the book had laid out, but what it does with that last third is probably the best part of the movie. Spoilers follow: the end of Kubrick's "The Shining" left the Overlook Hotel intact (if a little sad) rather than burning it down as in the novel. Mike Flanagan does two things with this film, both adapting the novel and following on from Kubrick's film, and the Overlook features heavily in this ending and wraps up the Shining story quite nicely. In fact it seems the main purpose of the ending was to do justice to Stephen King's original vision, and in honesty it's a better ending than that of the novel.
Where "The Shining" largely ignored character's motivations and development and treated them essentially as set-pieces, "Doctor Sleep" spends far too long bringing them together. The characters are expertly cast, and Ewan McGregor almost takes a back-seat to let Kyleigh Curran's Abra shine (pun intended). Interactions are played off nicely and there's a self-referential cameo from Flanagan's other King adaptation that doesn't feel too shoe-horned in. The characters that are obviously just there to die die rather obviously, and one in particular serves purely as motivation for another to keep on fightin'. The acting itself excels, with a star turn by Rebecca Ferguson. The issue is that it simply could have been half an hour shorter, with half an hour less build-up. By the end of the movie I was just glad we had finally returned to the Overlook and things were starting to really happen.
The film is shot beautifully, and where scenes or characters from "The Shining" are re-created or referenced it's done with a great amount of care. I might have been the only one that found Rose flying above the clouds a little naff, but I still have to admit it was at least shot nicely. Overall, this was a brilliant film that could just have benefitted from a little trimming down, but Flanagan clearly cared about these characters and wanted us to feel for them and I think he certainly achieved that - and I have to stress again how ridiculously impressed I was with the ending.
The story, overall, was well-adapted. About two-thirds of the way in the film really starts to veer off the path the book had laid out, but what it does with that last third is probably the best part of the movie. Spoilers follow: the end of Kubrick's "The Shining" left the Overlook Hotel intact (if a little sad) rather than burning it down as in the novel. Mike Flanagan does two things with this film, both adapting the novel and following on from Kubrick's film, and the Overlook features heavily in this ending and wraps up the Shining story quite nicely. In fact it seems the main purpose of the ending was to do justice to Stephen King's original vision, and in honesty it's a better ending than that of the novel.
Where "The Shining" largely ignored character's motivations and development and treated them essentially as set-pieces, "Doctor Sleep" spends far too long bringing them together. The characters are expertly cast, and Ewan McGregor almost takes a back-seat to let Kyleigh Curran's Abra shine (pun intended). Interactions are played off nicely and there's a self-referential cameo from Flanagan's other King adaptation that doesn't feel too shoe-horned in. The characters that are obviously just there to die die rather obviously, and one in particular serves purely as motivation for another to keep on fightin'. The acting itself excels, with a star turn by Rebecca Ferguson. The issue is that it simply could have been half an hour shorter, with half an hour less build-up. By the end of the movie I was just glad we had finally returned to the Overlook and things were starting to really happen.
The film is shot beautifully, and where scenes or characters from "The Shining" are re-created or referenced it's done with a great amount of care. I might have been the only one that found Rose flying above the clouds a little naff, but I still have to admit it was at least shot nicely. Overall, this was a brilliant film that could just have benefitted from a little trimming down, but Flanagan clearly cared about these characters and wanted us to feel for them and I think he certainly achieved that - and I have to stress again how ridiculously impressed I was with the ending.
Gareth von Kallenbach (980 KP) rated Mortal Kombat (2021) in Movies
Apr 22, 2021
Fans of the Mortal Kombat series have known that the path to bringing the violent and controversial game to live-action formats has been a mixed bag. While the first film in 1995 was a decent hit; the follow-up in 1997 disappointed fans who had grown weary of the PG-13 take on the series.
Subsequent efforts such as the 2011 television series also left fans wanting more; especially since the game series had become even more graphic and violent.
An animated film released in 2020 gave fans a taste of what they wanted as it featured graphical violence which many fans believed was essential to properly catch the spirit and action of the series.
The latest offering in the series “Mortal Kombat”; reboots the cinematic universe and gives fans the intense, brutal, and graphic violence that they have demanded. The film keeps the basic premise that the Outworld realm has won nine tournaments in a row, and based on the ancient laws; one more victory would allow them to take control of the Earth.
Raiden the Thunder God (Tadanobu Asano); who has been tasked with protecting Earth looks to assemble and train a band of champions to save Earth. Naturally, this is not going to be easy as Shang Tsung (Chin Han); is not willing to follow the rules of the tournament and dispatches his top fighter (Sub Zero (Joe Taslim) to dispatch the champions of Earth before the tournament in a clear violation of the rules in order to ensure total victory.
What follows is solid and very graphic action which contains gore and brutality on a level that almost kept the film from earning an R-rating. The action sequences are well-choreographed and there were some great recreations of classic moves by characters from the game series which were really well utilized and did not seem like gratuitous pandering.
While the plot is fairly simplistic and does not deviate greatly from the source material; it does give a larger backstory to the universe. It was really enjoyable to see many nods to the franchise throughout both subtle and overt and while some characters were glaringly absent which was a surprise; the characters that were included were really solid to see and the door was wide open for their inclusion at a later date.
While the cast does not contain any star power in terms of what Western audiences might expect from a major studio release; the ensemble works well and do a great job in bringing their characters to life.
The film leaves sequels wide open and teases a character that in my opinion was a glaring omission from the film. That being said; “Mortal Kombat” gives fans a solid adaptation that does not shy away from gore and violence and gives fans the cinematic experience that they have wanted.
3.5 stars out of 5
Subsequent efforts such as the 2011 television series also left fans wanting more; especially since the game series had become even more graphic and violent.
An animated film released in 2020 gave fans a taste of what they wanted as it featured graphical violence which many fans believed was essential to properly catch the spirit and action of the series.
The latest offering in the series “Mortal Kombat”; reboots the cinematic universe and gives fans the intense, brutal, and graphic violence that they have demanded. The film keeps the basic premise that the Outworld realm has won nine tournaments in a row, and based on the ancient laws; one more victory would allow them to take control of the Earth.
Raiden the Thunder God (Tadanobu Asano); who has been tasked with protecting Earth looks to assemble and train a band of champions to save Earth. Naturally, this is not going to be easy as Shang Tsung (Chin Han); is not willing to follow the rules of the tournament and dispatches his top fighter (Sub Zero (Joe Taslim) to dispatch the champions of Earth before the tournament in a clear violation of the rules in order to ensure total victory.
What follows is solid and very graphic action which contains gore and brutality on a level that almost kept the film from earning an R-rating. The action sequences are well-choreographed and there were some great recreations of classic moves by characters from the game series which were really well utilized and did not seem like gratuitous pandering.
While the plot is fairly simplistic and does not deviate greatly from the source material; it does give a larger backstory to the universe. It was really enjoyable to see many nods to the franchise throughout both subtle and overt and while some characters were glaringly absent which was a surprise; the characters that were included were really solid to see and the door was wide open for their inclusion at a later date.
While the cast does not contain any star power in terms of what Western audiences might expect from a major studio release; the ensemble works well and do a great job in bringing their characters to life.
The film leaves sequels wide open and teases a character that in my opinion was a glaring omission from the film. That being said; “Mortal Kombat” gives fans a solid adaptation that does not shy away from gore and violence and gives fans the cinematic experience that they have wanted.
3.5 stars out of 5
BankofMarquis (1832 KP) rated Enola Holmes (2020) in Movies
Oct 18, 2020
A Winning (enough) combination
I'm a sucker for Sherlock Holmes. I grew up watching the fantastic black and white Holmes films from the 1940's starring Basil Rathbone and Nigel Bruce. I checked out '70's Holmes flicks like MURDER BY DECREE and the 7 PERCENT SOLUTION and then re-fell-in-love with Holmes with the Jeremy Brett BBC SHERLOCK HOLMES TV series of the 1980's and, of course, Benedict Cumberbatch's modern take on the master sleuth in the 2000's was "must see TV" for me. I was even on-board with Robert Downey Jr's. "take" on this iconic sleuth and was thrilled when Sir Ian McKellen portrayed an elderly Sherlock Holmes in MR. HOLMES.
So...I eagerly awaited the Netflix treatment of the "younger" sister of Sherlock Holmes in ENOLA HOLMES -and, I gotta say, I wasn't disappointed.
Based on the Young Adult series of novels by Nancy Springer, ENOLA HOLMES introduces us to the (heretofore unknown) younger sister of Sherlock and Mycroft Holmes. Raised by a fiercely independent mother in the late 1880's, Enola goes searching for her when she goes missing and gets mixed up in the "The Case of the Missing Marquess" along the way.
Millie Bobbie Brown (STRANGER THINGS) is a winning, charismatic (enough) performer as Enola. She is a steady and sure hand at the helm of this ship throughout the course of this 2 hour and 3 minute adventure. While I would have liked her to command the screen more with her presence, she does enough to make it a good, solid, effort.
The supporting cast is just as good. Helena Bonham Carter (FIGHT CLUB) is perfectly cast as Enola's (and Sherlock's and Mycroft's) mother - she has that fierce streak of independence and "don't mess with me" energy while carving her own path. She is the type of character that one would go looking for if she went missing. Sam Claflin (HUNGER GAMES: CATCHING FIRE) is finely unrecognizable (at least to me) as Mycroft - written in this piece as the more "traditional" of the Holmes family and Henry Cavill (MAN OF STEEL) brings a strong arrogance to his portrayal of Sherlock. He also brings something else - heart - to this character, a character trait that has "traditional" fans of this character up in arms. For me, it works well in the context of this film.
As for the film itself - it is good (enough). I found myself enjoying the mystery and the characters and enjoyed my time in this world. It's not anything new, but it's like putting on a pair of old shoes - comforting to wear.
This is an adaptation of the first book of the series, and I, for one, hope that there are more. It's a winning combination that was pleasant to watch.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
So...I eagerly awaited the Netflix treatment of the "younger" sister of Sherlock Holmes in ENOLA HOLMES -and, I gotta say, I wasn't disappointed.
Based on the Young Adult series of novels by Nancy Springer, ENOLA HOLMES introduces us to the (heretofore unknown) younger sister of Sherlock and Mycroft Holmes. Raised by a fiercely independent mother in the late 1880's, Enola goes searching for her when she goes missing and gets mixed up in the "The Case of the Missing Marquess" along the way.
Millie Bobbie Brown (STRANGER THINGS) is a winning, charismatic (enough) performer as Enola. She is a steady and sure hand at the helm of this ship throughout the course of this 2 hour and 3 minute adventure. While I would have liked her to command the screen more with her presence, she does enough to make it a good, solid, effort.
The supporting cast is just as good. Helena Bonham Carter (FIGHT CLUB) is perfectly cast as Enola's (and Sherlock's and Mycroft's) mother - she has that fierce streak of independence and "don't mess with me" energy while carving her own path. She is the type of character that one would go looking for if she went missing. Sam Claflin (HUNGER GAMES: CATCHING FIRE) is finely unrecognizable (at least to me) as Mycroft - written in this piece as the more "traditional" of the Holmes family and Henry Cavill (MAN OF STEEL) brings a strong arrogance to his portrayal of Sherlock. He also brings something else - heart - to this character, a character trait that has "traditional" fans of this character up in arms. For me, it works well in the context of this film.
As for the film itself - it is good (enough). I found myself enjoying the mystery and the characters and enjoyed my time in this world. It's not anything new, but it's like putting on a pair of old shoes - comforting to wear.
This is an adaptation of the first book of the series, and I, for one, hope that there are more. It's a winning combination that was pleasant to watch.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
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Amy Norman (1048 KP) rated Ready Player Two in Books
Jul 23, 2022
I didn't want the reviews to be true but unfortunately I feel they were correct. I went into this with an open mind and ready to form my own opinions but alas this time I side with the majority.
***No direct spoilers as such but you may infer some details from what I have said***
I didn't struggle with the referencing and overexplaining that some people felt occurred in the first book but this was something completely different in the sequel.
In the first book, there was passion and a sense of urgency, and it drew you along to a satisfying conclusion. There were specific parts to the book that stood out, and it felt like a fully realised story that could almost happen.
I was really invested in the first book but this time round it was missing something.
Although the stakes were set higher it never felt like there was any real danger. There are some truly dramatic scenes but at no point did I feel like Cline had the heart to go all Game of Thrones on us.
I think Cline overstretched himself with trying to cram in 7 fantastical quests, world's, and puzzles to solve, that all the magic of the first book was completely lost.
He could have made this work well but the sped up timeline forced him into a corner there was no escaping from.
Rushed in places, where fans of the first book would have adored more detail and reveled in it, and then hyper focused and drawn out details of some really odd choices, means this book just falls flat.
There was so much potential here, but it felt like Cline was trying too hard to pay lip service to his peers and people he admires in a Halliday-esqe way, this can be felt if you actually read the acknowledgements. The comparison to Cline and some of the characters becomes quite apparent there, and are almost beyond cliche.
There is still ongoing talk of a movie adaptation for this sequel, and I feel like Cline really leaned into the idea of this (after the success of the first one). As this book would probably work better as a screenplay. I feel like this may be one of those extremely rare occurrences where the movie has the potential to be better than the book.
I often try to leave balanced reviews and can find a positive to end on but I was mostly disappointed by the end of reading, so I am struggling to end on a positive!
How about this?
There is no mention of a part three in the future but I feel like Cline has given himself the opportunity to have a fresh start, if there were to be a Ready Player Three, there are so many avenues he could explore, and bring the magic back! So I am hopeful for the futute.
***No direct spoilers as such but you may infer some details from what I have said***
I didn't struggle with the referencing and overexplaining that some people felt occurred in the first book but this was something completely different in the sequel.
In the first book, there was passion and a sense of urgency, and it drew you along to a satisfying conclusion. There were specific parts to the book that stood out, and it felt like a fully realised story that could almost happen.
I was really invested in the first book but this time round it was missing something.
Although the stakes were set higher it never felt like there was any real danger. There are some truly dramatic scenes but at no point did I feel like Cline had the heart to go all Game of Thrones on us.
I think Cline overstretched himself with trying to cram in 7 fantastical quests, world's, and puzzles to solve, that all the magic of the first book was completely lost.
He could have made this work well but the sped up timeline forced him into a corner there was no escaping from.
Rushed in places, where fans of the first book would have adored more detail and reveled in it, and then hyper focused and drawn out details of some really odd choices, means this book just falls flat.
There was so much potential here, but it felt like Cline was trying too hard to pay lip service to his peers and people he admires in a Halliday-esqe way, this can be felt if you actually read the acknowledgements. The comparison to Cline and some of the characters becomes quite apparent there, and are almost beyond cliche.
There is still ongoing talk of a movie adaptation for this sequel, and I feel like Cline really leaned into the idea of this (after the success of the first one). As this book would probably work better as a screenplay. I feel like this may be one of those extremely rare occurrences where the movie has the potential to be better than the book.
I often try to leave balanced reviews and can find a positive to end on but I was mostly disappointed by the end of reading, so I am struggling to end on a positive!
How about this?
There is no mention of a part three in the future but I feel like Cline has given himself the opportunity to have a fresh start, if there were to be a Ready Player Three, there are so many avenues he could explore, and bring the magic back! So I am hopeful for the futute.
Chris Sawin (602 KP) rated A Clockwork Orange (1971) in Movies
Jun 15, 2019
Alex DeLarge (Malcolm McDowell) is your average eighteen year old boy...if by average, you mean he fully embraces the old ultraviolence and wanders the streets with his three droogs causing havoc and doing whatever he likes; skipping school, breaking and entering, rape, and assault is just another average day in Alex's life. However, when a planned rape turns into an "accidental" murder, things start to turn fowl for Alex. His droogs turn on him and he winds up being caught by the police. He is then taken to a correctional facility where he spends the next few years, puts on the front that he's fully embraced the bible and that he's now a changed man. But when word makes round of the experimental Ludovico treatment, Alex realizes his chance at freedom and jumps through the proper hoops to get out of the penitentiary he finds himself in and get into the experimental facility where he can be "cured."
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Lottie disney bookworm (1056 KP) rated Mirror, Mirror in Books
Aug 16, 2019
Review by Disney Bookworm
Contains spoilers, click to show
If I’m honest I initially thought the tagline to this Snow White twisted tale novel was a massive plot spoiler but, when you are 300 pages into a book and no-one has eaten a poisoned apple, it may be the ideal opportunity to admit you were wrong. This book is not that simple!
Mirror, Mirror explores the traditional Grimm fairy tale of Snow White through the eyes of the two main characters: the Evil Queen and Snow White herself. The reader is completely under the control of these two women: finding themselves with no choice but to witness the familiar story from their perspective.
Jen Calonita’s novel is also heavily built on story telling through flashbacks. In my opinion, this is a genius idea as it provides an undeniable depth to her characters. Let’s be honest, everyone knows the story of Snow White but not everyone knows the story before Snow White and it is here where the twisted tale evolves.
Through these flashbacks we meet Katherine and Ingrid: two sisters whom have lost their mother and are being raised by their neglectful, sometimes violent, father. As a result of their upbringing, Ingrid, the elder sister, has adopted a motherly role towards her younger sister Katherine and strives to protect the innocent girl at all times. They leave home, finding work on a farm where Katherine finds her passion within the apple orchard, cultivating a new variety of apple which will later attract the attention of the King.
Ingrid however, always wants more than what she has. Older and more aware of the hardship life can bring, Ingrid is not as sweet and innocent as her sister: people do not dote on Ingrid as they do Katherine and eventually Ingrid finds that she cannot settle for a simple life- instead opting for a job in a small shop known for its association with dark magic and the home of a certain mirror.
You may have guessed by now that Ingrid is, in fact, the Evil Queen and her sister Katherine is Snow White’s mother! I know what you are thinking, I have just described how protective Ingrid was of the future Queen: surely she wouldn’t “off” her own sister and try to collect her niece’s heart in a box?
This is where the complexity of Ingrid’s character really shines through and where, (if hats suited me) I will take my hat off to Jen Calonita. Mirror Mirror takes you on a journey with Ingrid. You experience her love for her sister first-hand as well as her frustration with her sheltered life but later you also witness her lust for power and how easily Ingrid’s choices lead her down the wrong path.
I also believe that Ingrid is truly scarred by her past. She sneers upon her sister’s kindness and villainises Katherine for letting a man, and later her baby, come between them. Ingrid views herself as wiser and more intelligent than her little sister: believing that she would certainly rule the Kingdom more efficiently and not stopping until this becomes a reality.
Despite being a formidable woman, Ingrid is not devoid of vulnerabilities and, as the story progresses, the readers will witness Ingrid’s ghosts and note how one in particular never leaves her until the very end.
Of course, Ingrid’s enabler is the magic mirror. Calonita paints a picture of a mirror identical to the one we remember from the Disney 1938 classic animated film with a haunting mask dominating and manipulating The Evil Queen with every chance it gets.
The mirror creates an obsession and dependence within Ingrid that is chillingly portrayed. It is undoubtedly the real villain of the story: demanding blood from the start and weakening Ingrid until she cleaves to its will. However, we all know who is standing between the mirror and its plans for domination and undisputed power: the princess Snow White.
In the past, I have made no secret of the fact that Snow is my least favourite Disney princess. Her voice in the film grated on me and I just genuinely found her irritating. Thankfully Calonita’s Snow White is more akin to the ‘Once Upon A Time’ interpretation and so much easier to form a relationship with as a reader.
While fulfilling our expectations of being kind, innocent and prone to falling in love with conveniently handsome Princes: Mirror Mirror’s Snow White is bolder than we are used to and, as her story progresses, becomes more confident in herself as the heir to the kingdom. Her priorities are more political in nature, with a strong focus on rebuilding her kingdom and her bravery shines through almost from the very beginning. Snow does encounter challenges and dark thoughts as any person does but earns her Disney princess badge by helping true love to save the day!
Similarly, the seven dwarves are not as one-dimensional as the classic movie. They assist the Princess of course and shelter her in the forest but they also seem more street-wise (or should that be forest-wise?), squirreling away diamonds for bartering and mustering armies for Snow’s cause. There isn’t too much focus on the seven men in Mirror Mirror but I don’t think that the book is necessarily missing this. I think the characters are so well-known that too much character development would stray away from the main plot.
Mirror, Mirror is a modern adaptation of the familiar fairytale: centring itself around two very strong women in their own right but polar opposites in terms of their characters and choices in life.
The novel makes several nods to the iconic images formed in 1938 by Walt Disney such as the apple, the glass coffin and, of course, the seven dwarves. However, the recurring theme of choosing your own story and the complex backgrounds to her characters cause Jen Calonita’s novel to stand out on its own.
It may not have been the traditional “happy ever after” but this adaptation of Snow White was, in my opinion, the “fairest of them all”.
Written by The Disney Bookworm:
https://disneybookworm.home.blog
Mirror, Mirror explores the traditional Grimm fairy tale of Snow White through the eyes of the two main characters: the Evil Queen and Snow White herself. The reader is completely under the control of these two women: finding themselves with no choice but to witness the familiar story from their perspective.
Jen Calonita’s novel is also heavily built on story telling through flashbacks. In my opinion, this is a genius idea as it provides an undeniable depth to her characters. Let’s be honest, everyone knows the story of Snow White but not everyone knows the story before Snow White and it is here where the twisted tale evolves.
Through these flashbacks we meet Katherine and Ingrid: two sisters whom have lost their mother and are being raised by their neglectful, sometimes violent, father. As a result of their upbringing, Ingrid, the elder sister, has adopted a motherly role towards her younger sister Katherine and strives to protect the innocent girl at all times. They leave home, finding work on a farm where Katherine finds her passion within the apple orchard, cultivating a new variety of apple which will later attract the attention of the King.
Ingrid however, always wants more than what she has. Older and more aware of the hardship life can bring, Ingrid is not as sweet and innocent as her sister: people do not dote on Ingrid as they do Katherine and eventually Ingrid finds that she cannot settle for a simple life- instead opting for a job in a small shop known for its association with dark magic and the home of a certain mirror.
You may have guessed by now that Ingrid is, in fact, the Evil Queen and her sister Katherine is Snow White’s mother! I know what you are thinking, I have just described how protective Ingrid was of the future Queen: surely she wouldn’t “off” her own sister and try to collect her niece’s heart in a box?
This is where the complexity of Ingrid’s character really shines through and where, (if hats suited me) I will take my hat off to Jen Calonita. Mirror Mirror takes you on a journey with Ingrid. You experience her love for her sister first-hand as well as her frustration with her sheltered life but later you also witness her lust for power and how easily Ingrid’s choices lead her down the wrong path.
I also believe that Ingrid is truly scarred by her past. She sneers upon her sister’s kindness and villainises Katherine for letting a man, and later her baby, come between them. Ingrid views herself as wiser and more intelligent than her little sister: believing that she would certainly rule the Kingdom more efficiently and not stopping until this becomes a reality.
Despite being a formidable woman, Ingrid is not devoid of vulnerabilities and, as the story progresses, the readers will witness Ingrid’s ghosts and note how one in particular never leaves her until the very end.
Of course, Ingrid’s enabler is the magic mirror. Calonita paints a picture of a mirror identical to the one we remember from the Disney 1938 classic animated film with a haunting mask dominating and manipulating The Evil Queen with every chance it gets.
The mirror creates an obsession and dependence within Ingrid that is chillingly portrayed. It is undoubtedly the real villain of the story: demanding blood from the start and weakening Ingrid until she cleaves to its will. However, we all know who is standing between the mirror and its plans for domination and undisputed power: the princess Snow White.
In the past, I have made no secret of the fact that Snow is my least favourite Disney princess. Her voice in the film grated on me and I just genuinely found her irritating. Thankfully Calonita’s Snow White is more akin to the ‘Once Upon A Time’ interpretation and so much easier to form a relationship with as a reader.
While fulfilling our expectations of being kind, innocent and prone to falling in love with conveniently handsome Princes: Mirror Mirror’s Snow White is bolder than we are used to and, as her story progresses, becomes more confident in herself as the heir to the kingdom. Her priorities are more political in nature, with a strong focus on rebuilding her kingdom and her bravery shines through almost from the very beginning. Snow does encounter challenges and dark thoughts as any person does but earns her Disney princess badge by helping true love to save the day!
Similarly, the seven dwarves are not as one-dimensional as the classic movie. They assist the Princess of course and shelter her in the forest but they also seem more street-wise (or should that be forest-wise?), squirreling away diamonds for bartering and mustering armies for Snow’s cause. There isn’t too much focus on the seven men in Mirror Mirror but I don’t think that the book is necessarily missing this. I think the characters are so well-known that too much character development would stray away from the main plot.
Mirror, Mirror is a modern adaptation of the familiar fairytale: centring itself around two very strong women in their own right but polar opposites in terms of their characters and choices in life.
The novel makes several nods to the iconic images formed in 1938 by Walt Disney such as the apple, the glass coffin and, of course, the seven dwarves. However, the recurring theme of choosing your own story and the complex backgrounds to her characters cause Jen Calonita’s novel to stand out on its own.
It may not have been the traditional “happy ever after” but this adaptation of Snow White was, in my opinion, the “fairest of them all”.
Written by The Disney Bookworm:
https://disneybookworm.home.blog
