Even Snow White, the character, is given a thoroughly modern makeover. While the film is relatively light on social commentary, save for a brief but relevant subplot on the sheer ridiculousness of vanity in economically challenging times, the writers behind Mirror Mirror go against the Disney grain and make it clear that Snow White doesn’t necessarily need a prince to save her in a time of need. In fact, we even get the sense that (gasp!) marriage isn’t her number one priority.

If anything, Snow White is intent on fighting her own battles and seems happiest when setting a positive example for those thieving dwarfs who happen to adore her, despite opposing philosophies on matters like, say, stealing. And that, combined with the film’s appealing aesthetic and charming performances from the leads, ensures that Mirror Mirror is no rotten apple, even if Snow White is routinely upstaged by Roberts who steals every scene she’s in.


  • Drugs/Alcohol: Social drinking depicted.
  • Language/Profanity: No profanity, just one exclamation of God’s name and a bit of scatological humor when the Queen undergoes a very strange beauty regiment.
  • Sex/Nudity: No sex or nudity, just a couple of kisses exchanged between Snow and Prince Alcott. The Queen says Prince Alcott is built like an ox. There’s also a scene played for laughs when The Queen and Prince Alcott fall on top of each other. On occasion, Snow’s dresses are a bit cleavage-y. Prince Alcott is shown bare-chested and wearing only his long undergarment pants in a couple of scenes—nothing risqué.
  • Violence: There’s some sword fighting, a few punches thrown and a couple of characters are hung upside down in the forest. A beast lurking in the forest also provides a sense of danger throughout and when revealed is more cartoonish in depiction than scary. Snow is faced with a few perilous situations, thanks to the Queen who wants her dead.
  • Magic/Mystical Elements: The Queen is warned several times about how dangerous magic can be, but since that’s what helps keep her ageless, she doesn’t seem to care—until it’s too late. The Queen also uses a love spell on Prince Alcott, but since it was for “puppy love,” he ends up exhibiting canine-like behavior, rather than true love, instead.

Christa Banister is a full-time freelancer writer, specializing in music, movies and books-related reviews and interviews and is the author of two novels, Around the World in 80 Dates and Blessed Are the Meddlers. Based in Dallas, Texas, she also weighs in on various aspects of pop culture on her personal blogFor more information, including her upcoming book signings and sample chapters of her novels, check out her Website.