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Snow White: A Tale of Terror

Snow White: A Tale of Terror

Fantasy · Horror · 1997

When young Lili's mother dies in childbirth, her father remarries Lady Claudia, a woman ruled by an evil mirror with the power to make her queen of all living things. After escaping an attempt on her life, Lili finds herself lost in a dark forest, where living happily ever after seems unlikely.

Movie details

Snow White: A Tale of Terror

“The fairy tale is over.”

1997 Fantasy · Horror 1h 40m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

When young Lili's mother dies in childbirth, her father remarries Lady Claudia, a woman ruled by an evil mirror with the power to make her queen of all living things. After escaping an attempt on her life, Lili finds herself lost in a dark forest, where living happily ever after seems unlikely.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Snow White: A Tale of Terror?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Michael Cohn

Written by

Tom Szollosi · Deborah Serra

Sigourney Weaver

Sigourney Weaver

Lady Claudia Hoffman

Sam Neill

Sam Neill

Lord Friedrich Hoffman

Monica Keena

Monica Keena

Lilliana 'Lilly' Hoffman

Gil Bellows

Gil Bellows

Will

Brian Glover

Brian Glover

Lars

David Conrad

David Conrad

Peter Gutenberg

Anthony Brophy

Anthony Brophy

Rolf

Court is in session

Put Snow White: A Tale of Terror on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.