Many, many moons ago, I remember reading an interview with actor Pierce Brosnan regarding his opinion of the broader James Bond franchise.
For those of you who might be much younger than I, Brosnan played the globe-trotting agent on His Majesty’s Secret Service from 1995 through 2002 across four different films. From what I recall, this interview might’ve been toward the end of his tenure in the role; and – as some of the box office receipts were dwindling, a sign that perhaps 007’s future was in doubt – he was asked about what direction in storytelling might buoy the franchise’s spirits and bring audiences back for another adventure. To everyone’s surprise, the actor insisted that the strength of the James Bond character was strong enough that perhaps it was time to give the spy something vastly different … and he suggested that producers might consider a Bond/Horror film.
Now, others have suggested that what Brosnan was doing in making this suggestion was trying to send a veiled message to the franchise overlords that he was done suiting up as the singular do-gooder. Of course, that could be the truth, but – when pressed – he simply explained that the strength of an established character – one who had been around for decades – should provide a bit of wiggle room around which screenwriters could explore something a bit different than what had come before. Though I personally disagree – no one who purchases a ticket to any installment of the Bond franchise expects to show up for anything less than Action, Adventure, and Espionage – I can appreciate his point about giving a known commodity a bit of breathing room to try something a bit dissimilar.
Essentially, that’s a bit of what writer, director, and actor Jason Brooks has done with his latest output, The Death Of Snow White (2025). Clearly, he’s pushing the classic story of love, magic, and mystery closer to the territory originally staked out by the Brothers Grimm; but he imbues the project with what I think might be best described as B-Movie sensibilities. There’s a bit of sorcery. There’s some goofy dialogue. There’s the welcome flash of gratuitous breasts here and there by the ladies in the cast. But because this was intended more for an adult audience, he bypasses making the fabled dwarves of the cute and cuddly variety instead – like James Bond – giving them a license to kill … and kill they do.
Buckle up, peasants. This is not your father’s Snow White. She might emerge pure as snow, but those around her are kicking arse, splitting skulls, and taking names.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
For those of you who might be much younger than I, Brosnan played the globe-trotting agent on His Majesty’s Secret Service from 1995 through 2002 across four different films. From what I recall, this interview might’ve been toward the end of his tenure in the role; and – as some of the box office receipts were dwindling, a sign that perhaps 007’s future was in doubt – he was asked about what direction in storytelling might buoy the franchise’s spirits and bring audiences back for another adventure. To everyone’s surprise, the actor insisted that the strength of the James Bond character was strong enough that perhaps it was time to give the spy something vastly different … and he suggested that producers might consider a Bond/Horror film.
Now, others have suggested that what Brosnan was doing in making this suggestion was trying to send a veiled message to the franchise overlords that he was done suiting up as the singular do-gooder. Of course, that could be the truth, but – when pressed – he simply explained that the strength of an established character – one who had been around for decades – should provide a bit of wiggle room around which screenwriters could explore something a bit different than what had come before. Though I personally disagree – no one who purchases a ticket to any installment of the Bond franchise expects to show up for anything less than Action, Adventure, and Espionage – I can appreciate his point about giving a known commodity a bit of breathing room to try something a bit dissimilar.
Essentially, that’s a bit of what writer, director, and actor Jason Brooks has done with his latest output, The Death Of Snow White (2025). Clearly, he’s pushing the classic story of love, magic, and mystery closer to the territory originally staked out by the Brothers Grimm; but he imbues the project with what I think might be best described as B-Movie sensibilities. There’s a bit of sorcery. There’s some goofy dialogue. There’s the welcome flash of gratuitous breasts here and there by the ladies in the cast. But because this was intended more for an adult audience, he bypasses making the fabled dwarves of the cute and cuddly variety instead – like James Bond – giving them a license to kill … and kill they do.
Buckle up, peasants. This is not your father’s Snow White. She might emerge pure as snow, but those around her are kicking arse, splitting skulls, and taking names.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Pursued by her stepmother for eternal beauty, Snow White flees into a terrifying forest and aligns with seven bloodthirsty dwarves - cold-blooded assassins with a knack for brutal killings. Her spirit is tested in this grim fairy tale.”
Unquestionably, the single greatest advantage that The Death Of Snow White brings to the table is the fact that the Walt Disney’s latest and greatest attempt to corner the live action fairy tale remake market has tanked, deservedly so some might say. On the cusp of that spectacular failure, some moviegoers might be happy to venture into uncharted waters and check out this alternate take on the same source material. They won’t emerge with a song in their heart nor the hankering for retooled Communism that the Mouse House purportedly went all-in for, but they might be vastly more entertained in the process.
On the heels of her parents’ demise, the young princess Snow White (played by Sanae Loutsis) matures in young adulthood under guidance from her parental guardian, the Evil Queen (Chelsea Edmundson). Of course, what Snow doesn’t know is that it was the Queen who was chiefly responsible for their deaths; and now the old crone retains her youth and beauty by engaging in some black arts which allow her to steal the essence of such things from the genetically privileged within her kingdom. Yes, she has her sights set on robbing her adopted daughter’s assets as well, but – for the present – the Queen merely bides her time subsisting on what she can gain from so many unfortunate souls.
Now that Snow’s truly blossomed into womanhood, Queenie dispatches her huntsmen to round up the girl, a development that forces Snow to escape into the Black Forest, that dark place in the kingdom where danger lives. Once there, she’s nearly struck down by these carnivorous tree creatures, only to be rescued by – you guessed it – those seven dwarves. Thankfully, director Brooks stayed true to the original fable and cast authentic little people to fill in these roles – with a single exception, but that’s forgivable – so what eventually grows is a bond between real people – not CGI nightmares – who aren’t afraid to stand up against anything the Forest throws at them. Given that they’ve been exiled here by the Queen long ago, they’ve grown accustomed to spilling blood to survive; and they spill plenty. Buckets of it, in fact. Just the way B-Movies do.
Still, Death plays out faithfully to the original legend. Watchers know full well that Snow is destined to bite the poisoned apple (she does, but with a bit of grindhouse-inspired help from that wicked witch). They also know she’ll be brought back to life by true love’s kiss, and there’s a bit of special effects to help give that moment just the visual mysticism it needs. But who knew that the Evil Queen and her spunky princess would go toe-to-toe in a big, bloody showdown (of sorts) that helps to reshape the kingdom for the betterment of all mankind? A few lives are lost along the way, and yet Death ends on an immeasurably bittersweet note – a dance in the Forest which tugs at the heartstrings – that likely will mean more to the adults watching than it ever would the young’uns.
None of this is to say that Death is the perfect tale delivered perfectly.
The production never quite rises above the feel of a community theater production that’s been heavily augmented with props and costumes from the local Medieval Times restaurant or maybe even the annual Renaissance Faire, meaning that it’s all far too crisp, clean, and proper to ever look like it was a real period piece. A few of the set pieces were a bit underwhelming, and I honestly think that the Queen’s throne might have been nothing more than a re-dressed 1970’s dental chair. The sound mix improves as the picture goes on, but the opening sequences truly left a bit to be desired. While there are a few special effects that had to be rendered in post, the vast majority of what’s in here is practical in-camera trickery; and it ranges from good to bad probably in just the way one expects from a low-budget effort. Pacing could’ve been improved with a tighter edit, but that could just be a matter of personal taste more than it is an actual criticism.
“Pursued by her stepmother for eternal beauty, Snow White flees into a terrifying forest and aligns with seven bloodthirsty dwarves - cold-blooded assassins with a knack for brutal killings. Her spirit is tested in this grim fairy tale.”
Unquestionably, the single greatest advantage that The Death Of Snow White brings to the table is the fact that the Walt Disney’s latest and greatest attempt to corner the live action fairy tale remake market has tanked, deservedly so some might say. On the cusp of that spectacular failure, some moviegoers might be happy to venture into uncharted waters and check out this alternate take on the same source material. They won’t emerge with a song in their heart nor the hankering for retooled Communism that the Mouse House purportedly went all-in for, but they might be vastly more entertained in the process.
On the heels of her parents’ demise, the young princess Snow White (played by Sanae Loutsis) matures in young adulthood under guidance from her parental guardian, the Evil Queen (Chelsea Edmundson). Of course, what Snow doesn’t know is that it was the Queen who was chiefly responsible for their deaths; and now the old crone retains her youth and beauty by engaging in some black arts which allow her to steal the essence of such things from the genetically privileged within her kingdom. Yes, she has her sights set on robbing her adopted daughter’s assets as well, but – for the present – the Queen merely bides her time subsisting on what she can gain from so many unfortunate souls.
Now that Snow’s truly blossomed into womanhood, Queenie dispatches her huntsmen to round up the girl, a development that forces Snow to escape into the Black Forest, that dark place in the kingdom where danger lives. Once there, she’s nearly struck down by these carnivorous tree creatures, only to be rescued by – you guessed it – those seven dwarves. Thankfully, director Brooks stayed true to the original fable and cast authentic little people to fill in these roles – with a single exception, but that’s forgivable – so what eventually grows is a bond between real people – not CGI nightmares – who aren’t afraid to stand up against anything the Forest throws at them. Given that they’ve been exiled here by the Queen long ago, they’ve grown accustomed to spilling blood to survive; and they spill plenty. Buckets of it, in fact. Just the way B-Movies do.
Still, Death plays out faithfully to the original legend. Watchers know full well that Snow is destined to bite the poisoned apple (she does, but with a bit of grindhouse-inspired help from that wicked witch). They also know she’ll be brought back to life by true love’s kiss, and there’s a bit of special effects to help give that moment just the visual mysticism it needs. But who knew that the Evil Queen and her spunky princess would go toe-to-toe in a big, bloody showdown (of sorts) that helps to reshape the kingdom for the betterment of all mankind? A few lives are lost along the way, and yet Death ends on an immeasurably bittersweet note – a dance in the Forest which tugs at the heartstrings – that likely will mean more to the adults watching than it ever would the young’uns.
None of this is to say that Death is the perfect tale delivered perfectly.
The production never quite rises above the feel of a community theater production that’s been heavily augmented with props and costumes from the local Medieval Times restaurant or maybe even the annual Renaissance Faire, meaning that it’s all far too crisp, clean, and proper to ever look like it was a real period piece. A few of the set pieces were a bit underwhelming, and I honestly think that the Queen’s throne might have been nothing more than a re-dressed 1970’s dental chair. The sound mix improves as the picture goes on, but the opening sequences truly left a bit to be desired. While there are a few special effects that had to be rendered in post, the vast majority of what’s in here is practical in-camera trickery; and it ranges from good to bad probably in just the way one expects from a low-budget effort. Pacing could’ve been improved with a tighter edit, but that could just be a matter of personal taste more than it is an actual criticism.
And as for the screen talent?
Well, I really try to avoid such nitpicking – Loutsis feels as though she was on autopilot much of the time, and the little folk could’ve used a bit more practice in the diction department. Somehow, Snow winds up looking better once she’s been roughed up a bit and doused in blood; and she even looks damn radiant when lying comatose under the spell of that bad apple. But the whole affair is elevated by Edmundson’s time. As the Evil Queen, she chews scenery with the best of them, never overdoing it but clearly relishing the chance to both sit in judgment over her kingdom while perhaps having to much fun soaking in a tub filled with human remains.
“Mirror, mirror,” indeed.
The Death Of Snow White (2025) was produced by STL Productions, Real Fiction Studios, and Newton To Newton Productions. According to a quick search of Google.com, the film presently available in limited theatrical engagements as well as a handful of online streaming options. As for the technical specifications? While I’m no trained video expert, I’ll admit that there’s a great deal of camerawork within Death that’s quite good, even surprisingly good given the fact that this appears to be an independent-style feature. While I could nitpick some of the staging and/or perspectives here and there, there wasn’t anything that failed to strike the right tone of Dark Fantasy, though the production details could’ve used a bit of extra attention. Kudos to the direction and the cinematographer for crafting such a compelling vision. Lastly, if you’re looking for special features? As I viewed this one entirely via streaming, there were no special features to consider.
Recommended.
Now, The Death Of Snow White – not to be confused with any other iteration of the popular children’s fairy tale – is probably not intended for the young-at-heart. Mind you: there isn’t a great deal of graphic violence in here, but I think it’s clear that Brooks and company crafted this one for mature audiences. Its humor doesn’t always work – there’s a pretty solid bit between to babbling misfits that gets overdone in the second half – and yet just enough of the jokes might evoke a smile at minimum. The Evil Queen is particularly fetching, so much so that I was honestly rooting for her secretly to see the error of her ways and somehow emerge unscathed in the big finish. Alas, that wasn’t meant to be, so I – like so many – will have to pledge my faith and loyalty to Snow White if for no other reason than it’s still the right thing to do. But that Queen? My God, that looked like it could’ve been a lot of fun.
In the interest of fairness, I’m pleased to disclose that the fine folks at Real Fiction Studios provided me with complimentary streaming access to The Death Of Snow White (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Well, I really try to avoid such nitpicking – Loutsis feels as though she was on autopilot much of the time, and the little folk could’ve used a bit more practice in the diction department. Somehow, Snow winds up looking better once she’s been roughed up a bit and doused in blood; and she even looks damn radiant when lying comatose under the spell of that bad apple. But the whole affair is elevated by Edmundson’s time. As the Evil Queen, she chews scenery with the best of them, never overdoing it but clearly relishing the chance to both sit in judgment over her kingdom while perhaps having to much fun soaking in a tub filled with human remains.
“Mirror, mirror,” indeed.
The Death Of Snow White (2025) was produced by STL Productions, Real Fiction Studios, and Newton To Newton Productions. According to a quick search of Google.com, the film presently available in limited theatrical engagements as well as a handful of online streaming options. As for the technical specifications? While I’m no trained video expert, I’ll admit that there’s a great deal of camerawork within Death that’s quite good, even surprisingly good given the fact that this appears to be an independent-style feature. While I could nitpick some of the staging and/or perspectives here and there, there wasn’t anything that failed to strike the right tone of Dark Fantasy, though the production details could’ve used a bit of extra attention. Kudos to the direction and the cinematographer for crafting such a compelling vision. Lastly, if you’re looking for special features? As I viewed this one entirely via streaming, there were no special features to consider.
Recommended.
Now, The Death Of Snow White – not to be confused with any other iteration of the popular children’s fairy tale – is probably not intended for the young-at-heart. Mind you: there isn’t a great deal of graphic violence in here, but I think it’s clear that Brooks and company crafted this one for mature audiences. Its humor doesn’t always work – there’s a pretty solid bit between to babbling misfits that gets overdone in the second half – and yet just enough of the jokes might evoke a smile at minimum. The Evil Queen is particularly fetching, so much so that I was honestly rooting for her secretly to see the error of her ways and somehow emerge unscathed in the big finish. Alas, that wasn’t meant to be, so I – like so many – will have to pledge my faith and loyalty to Snow White if for no other reason than it’s still the right thing to do. But that Queen? My God, that looked like it could’ve been a lot of fun.
In the interest of fairness, I’m pleased to disclose that the fine folks at Real Fiction Studios provided me with complimentary streaming access to The Death Of Snow White (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
RSS Feed