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When it comes to animated films, if you enjoyed “Frozen” but wished it had been more violent, “The Huntsman: Winter’s War” is the film for you.
It’s the story of two royal sisters, one of whom discovers in a fit of rage that she possesses the ability to shoot ice from her fingertips, prompting her to exile herself to a faraway land in the mountains, where she establishes her own kingdom and raises an army to fight against the other. She even dresses in decadent gowns in a variety of pale blue hues, with her hair pulled back in elaborate braids, as seen in the film.
Seriously. This is the subject of the novel “Winter’s War.”
However, before you can say “let it go,” this sorta-prequel, sorta-sequel, sorta-something-in-between to 2012’s “Snow White and the Huntsman” introduces a slew of other subplots, which all combine to create a jumbled (and less-than-magical) narrative.
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This dark take on the familiar “Snow White” fable succeeded thanks to breathtakingly beautiful and brutal imagery as well as a richly villainous performance from Charlize Theron as the wicked queen. It was exciting yet empty, but at the very least it had a clear focus and kept you interested. Unlike in the previous film, first-time feature director Cedric Nicolas-Troyan (replacing Rupert Sanders) has difficulty juggling all of the disparate storylines in Evan Spiliotopoulos and Craig Mazin’s script, which they wrote together.
Do you think “Winter’s War” is a story about a rivalry between two sisters, the evil Ravenna (Charlotte Theron) and the distraught Freya (Emily Blunt)? Is it about the forbidden love between Freya’s two top soldiers, huntsman Eric (Chris Hemsworth) and hell-raiser Sara (Jessica Chastain), or something else altogether? Is it about Snow White, who is referred to with great reverence but only appears a couple of times in the most fleeting and hazy of glimpses in the film? (Unlike Theron and Hemsworth, Kristen Stewart does not return for the second installment, despite the fact that she played the title character in the first installment. It even seemed strange to me and my six-year-old son at the time. Perhaps it’s all about the squabbling, digitally-rendered dwarfs (Nick Frost and Rob Brydon), who provide comic relief.
The Huntsman Winter S War Quiz
The only thing that holds the group together is a pervasive sense of self-serious dreariness. Winter’s War is as monotonously somber as the title suggests, with the exception of a brief excursion into a forest full of fairy sprites and other brightly colored creatures.
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Starting with infanticide, the plot then progresses to the kidnapping and training of child soldiers (these aren’t just for young adult adaptations anymore!) to serve as the miserable Freya’s army as she seeks vengeance from atop the snow-covered mountains. However, her two most powerful weapons, Eric and Sara, have dared to fall in love with each other—and as a result, Freya destroys their chances of ever finding happiness as a result of their relationship. Although the motivations aren’t particularly complicated in this film, the omnipresent voiceover from Liam Neeson makes sure that we understand everything.
Ravenna may or may not be dead seven years later (and, in terms of timeline, seven years after the events of “Snow White and the Huntsman,” for those of you who are playing at home). However, the mirror that gave her confidence has gone missing, and everyone is on the lookout for it because it is so powerful. Or something along those lines. It’s the glistening, golden McGuffin, and it has the power to either bring people together or drive them apart.
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As for how it will affect Hemsworth and Chastain’s characters, it could have a positive or negative impact—but it’s hard to care. Despite the fact that they are both attractive on their own, these two actors have absolutely no chemistry together. Their love scenes (including one that just so happens to take place in the only hot tub in the entire frozen land) are so uncomfortable to watch that it’s almost painful to watch them. They aren’t much better when it comes to flirty banter, and that’s only in part because they are speaking in inconsistent Scottish accents. For much of the film, Hemsworth is borderline unintelligible, and not in an intentionally amusing, Brad Pitt in “Snatch” kind of way; Chastain’s brogue comes and goes in and out of the picture. And as beautiful and versatile as Chastain is, she isn’t particularly adept at portraying a warrior princess.
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The other major players in this film, Charlize Theron and Emily Blunt, provide a sporadically amusing sense of camp to the proceedings as dueling queens. In her portrayal of the shattered Freya, Blunt can be quite unnerving, and she does her best to give the character depth that doesn’t exist on the page. Theron is, on the other hand, ratcheting things up to the point where it feels like she’s in an entirely different movie—one that has some life to it and that you’d actually want to see.
The fact that Nicolas-Troyan comes from a visual effects background (he was nominated for an Academy Award for his work on “Snow White and the Huntsman”) means that the major set pieces can be visually arresting at times, particularly those involving the mirror itself in all its hypnotic allure. However, much of the action is sadly one-note and emotionally detached, consisting mostly of one-note, repetitive brawls with axes, sticks, swords, and other weapons.
Even more impressive is that the costumes are the work of the legendary Colleen Atwood, who has been nominated for 11 Academy Awards and has won three, for films such as “Chicago,” “Memoirs of a Geisha,” and “Alice in Wonderland.” Atwood also designed the costumes for the first “Huntsman,” which was released in 1977. The luxuriously appointed gowns range from gold-and-black, bird-fetish chic for the statuesque Theron to crisp and crystalline grays and blues for Blunt—although it’s clear that the cold never bothered her anyway.
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