When the King falls victim to giant lizards rampaging across the enchanted realm of White Fell, the wicked Queen Gwendolyn (Jane March) has the perfect excuse to do away with her despised stepdaughter, the lovely Snow White (Eliza Bennett). Her hatred for Snow is only compounded after the dashing Prince Alexander (Jaime Thomas King) of North Valley arrives seeking an alliance-by-marriage with the Queen, but ends up falling for the princess instead. Unwittingly sent to her death in the woods, Snow eludes the huntsman’s blade thanks to a sudden attack from another of those giant monsters. She awakens in a village among the Elves, a persecuted race in White Fell, who are not overly keen to have a fugitive in their midst. However, a prophecy foretells of a so-called “Luminary” who will unite the tribes of men and elves and gain control of a mystical fallen star. Unfortunately, that same star is the magical Macguffin sought by the evil Queen.
Another low-budget DTV cash-in on Hollywood’s brief Snow White craze that spawned Snow White and the Huntsman and Mirror, Mirror, this time from the kings of the “mockbuster”, The Asylum, the studio that brought us Transmorphers (2007), Snakes on a Train (2006) and Almighty Thor (2011), among others. Going the same sword and sorcery route as Snow White and the Huntsman, screenwriter Naomi Selfman crafts a tale that despite the possessory credit awarded the Brothers Grimm draws rather more from The Lord of the Rings, substituting elves for the traditional dwarves, and also eludes to the Neil Gaiman fantasy, Stardust (2007) with its subplot about the quest for a magical fallen star.
Although hamstrung by a plodding and repetitive plot that dwells on a surfeit of sub-Tolkien mystical hooey along with an overly solemn tone, this still emerges among the more likeable Asylum productions. Young British actress Eliza Bennett, star of Inkheart (2008) and Nanny McPhee (2005), is really quite winning as the gutsy and resourceful Snow White whilst Jane March, onetime “sinner from Pinner” by way of Jean-Jacques Annaud’s divisive The Lover (1992). For all its occasional failings, director Rachel Goldenburg makes a valiant effort to keep things lively while the special effects, although of variable quality, prove admirably ambitious and occasionally eye-catching. In fact, the giant lizards and demon dogs add a fun element to the movie. However, the elves are a dishearteningly anonymous bunch. Lacking distinctive personalities, they all sport the same constipated expression. The Austrian supporting cast look confused half the time.
Filmed in Vienna, this has the benefit of handsome locations including some sumptuous castles and cinematographer Alexander Yellin shoots with an eye for fairytale ambience. A curious plot quirk ensures the vast Elven army lurking in the hills can only intervene when most dramatically necessary, but Goldenburg - whose eclectic DTV career includes Sunday School Musical (2008), the Christian alternative to High School Musical, Princess and the Pony (2011) and another Asylum mockbuster, Sherlock Holmes (2010) - injects some swashbuckling verve into the third act as Snow grabs bow and arrow and leads her Elves into battle. Strangely, the DVD cover art alters blonde Eliza Bennett into a brunette. What’s up with that?
