Movies Extravaganza 26: SNOW WHITE | NOVOCAINE | BLACK BAG | MICKEY 17 |CAPTAIN AMERICA: BRAVE NEW WORLD | LOVE HURTS

Disney’s Snow White (2025) arrives with enough baggage to fill an entire enchanted forest. Between pre-release controversies and online boycotts, it was tempting to dismiss this reimagining as another soulless IP cash grab. Yet, despite all the noise, the film itself manages to be visually lush and occasionally stirring. A retelling that’s more interesting for its political subtext than its actual fairy tale.

A Familiar Yet Modern Rebellion:
Marc Webb, best known for “(500) Days of Summer” and “The Amazing Spider-Man” films, leans into a grander, more action-heavy vision. This isn’t the passive, love-struck Snow White of 1937. Instead, Rachel Zegler’s Snow is a revolutionary—kind, yes, but determined to free her kingdom from Gal Gadot’s ruthlessly vain and occasionally bloodthirsty Evil Queen. The film’s political undertones are unmistakable. The Evil Queen’s obsession with beauty and control reads like a thinly veiled allegory for authoritarian rule. And Snow White’s band of outcasts—including the scrappy dwarfs become symbols of grassroots resistance.

It’s hard not to see the parallels to today’s political landscape, especially with Disney clearly anticipating another Trump presidency during the writing phase. The film’s moral—standing together against a dictator in defense of freedom, justice, and kindness—feels less like a fairy tale lesson and more like a rallying cry.

The Performances – Serviceable but Not Spellbinding:
Zegler, who was fair to adequate in “West Side Story” and “Shazam! Fury of the Gods”, continues her streak of being… fine. She’s technically competent—her voice soars in the musical numbers, and she looks the part—but she lacks the magnetic charm or presence to make Snow White feel iconic. I haven’t seen “Y2K” or “The Hunger Games: The Ballad of Songbirds & Snakes” yet, but based on this performance, I wouldn’t expect her to suddenly crackle with energy. She gets the job done, but no more.

Gadot, on the other hand, is a mixed bag. She brings regal menace and a chilling elegance to her early scenes. However, her character is maddeningly inconsistent. One moment she’s ready to slaughter her enemies with a smirk, the next she’s content to simply imprison them or put Snow White to sleep. The Evil Queen’s wavering brutality makes her feel less like a tyrant and more like a plot device with mood swings.

Andrew Burnap’s Jonathan is charming but forgettable, serving primarily as a plot conduit. The Seven Dwarfs, however, are far more memorable. I saw a review call them creepy – I disagree. Despite the iffy CGI in the trailer, the animators worked magic here. Dopey, clearly designed to tug at kids’ (and adults’) heartstrings, totally got to me. Those eyes! The squirrels, of all creatures, steal multiple scenes in their life-likeness.

There’s one good new song “Princess Problems” otherwise, the musical team of Pasek and Paul ( “La La Land,” “The Greatest Showman,” and “Dear Evan Hansen”) have developed a signature sound which feels repetitive. Which always worked for Stephen Sondheim, he’d deliver a gem each show and the rest would just be Sondheim-esque.

The Backlash and My Two Cents:
Of course, the film can’t be separated from the controversy surrounding its release. I responded to an Instagram post urging people to boycott Snow White because of Gal Gadot’s pro-Israel stance, despite Rachel Zegler being pro-Palestine. My take? I argued that boycotting the film would only discourage Disney from hiring non-white actors in the future, as political affiliations would make casting “too risky.” I said, I’m all for support to get “No Other Land” distribution and more screen time. The backlash I received was swift and harsh. But I stand by it – boycotting “Snow White” won’t suddenly open doors for more Palestinian voices or stop the Genocide. But it could risk closing doors for diverse casting in mainstream Hollywood. No one had any response to putting energy into “No Other Land”. I doubt any of my detractors have even seen this important Oscar Winning documentary by filmmakers Basel Adra, Hamdan Ballal, Yuval Abraham & Rachel Szor, which so clearly shines a spotlight on constant Palestinian horrific abuse.

Final Snow White Verdict:
Snow White (2025) is neither the disaster its detractors predicted nor the triumph Disney hoped for. But it’s worth watching—if only to be part of the conversation. Disney’s live-action remakes rarely capture the magic of their animated counterparts, and while “Snow White” doesn’t break that trend, it at least swings for something more ambitious.

Bong Joon Ho’s sci-fi, dark comedy “Mickey 17” proves that even clones hate late-stage capitalism. It’s the kind of high-concept sci-fi that’s both thrilling and deeply satirical—the man refuses to make a movie that doesn’t slap you upside the head with a message, and don’t we love him for it. Based on Edward Ashton’s novel, this film turns a routine interstellar colonization mission into a meditation on identity, mortality, and the absolute idiocy of American imperialism.

Robert Pattinson stars as Mickey Barnes, an “expendable” crew member on a doomed mission to the frozen hellscape of Niflheim (because Earth is obviously shot to hell, so let’s go ruin another planet). His job is simple: die. And then come back. Over and over. When one Mickey kicks the bucket, a new one is printed out, memories mostly intact, ready to suffer all over again. But here’s the kicker—Mickey starts to realize that dying, even when you come back, still means something. Each iteration takes a toll, and the existential dread of knowing you’re just another disposable body in a long line of discarded versions.

Pattinson is having an absolute blast in the role, balancing humor, exhaustion, and desperation. He’s got that “what fresh hell is this?” energy throughout, which is fitting considering his entire existence is controlled by the whims of a leadership that is—let’s be real—cartoonishly evil. The film is not subtle about its disdain for white supremacist ideology or the arrogance of American leaders who think colonization is the answer to everything. It’s as if Bong looked at the last decade of U.S. politics and said, “Yeah, let’s make sure nobody misses the point.”

And let’s talk about Naomi Ackie. Between this and “Blink Twice”, she is carving out a serious name for herself in sci-fi. Her performance as a fellow crew member (or something more?) adds depth to the chaos, and her chemistry with Pattinson is pretty good. Bong surrounds them with a stellar supporting cast Steven Yeun as a opportunist who always finds a way to get out of every scrape. Toni Collette as a self-serving, woman running the show behind the ruler – think a fancier Nancy Regan. Mark Ruffalo as a comically villainous Trump /Musk amalgamation. 

The grimly believable world-building and indigenous inhabitant creatures, work for me. The visuals may not be as grand as the Dune franchise, but as far as I’m concerned that’s all Dune’s got going for it. I’m glad “Mickey 17” doesn’t try to be dense and impenetrable. Yet, it’s still smart, darkly funny, and unrelenting in its critique of power structures that treat people like cogs in a machine. The real horror isn’t just dying—it’s knowing that the system doesn’t care who you are, because you’re always replaceable. But what happens when you refuse to be just another number? Now that’s the fun part.

Bong Joon Ho has made another banger. See it, argue about it, and remember—if your boss tells you that your job is “dying repeatedly,” maybe it’s time to unionize.