The Huntsman: Winter’s War, directed by Cedric Nicolas-Troyan, gave me what I expected, and I’m good with that. This sequel to Snow White and the Huntsman (2012) isn’t mind-blowing. It doesn’t present anything staggeringly original, nor will it change your life with some profound message, but it will allow you to escape into a fantasy world rich in costumes, effects, atmosphere, and justice.
When jilted by her forbidden lover, Freya (Emily Blunt) discovers her ability to conjure and manipulate ice, then retreats to “the north” to build an empire. A reclusive ice queen? Hmm . . . that sounds a lot like Elsa from Frozen (2013). However, Freya’s blood runs much colder: her manipulative sister Ravenna (Charlize Theron), now trapped in Snow White’s famous mirror, is the spellbinding supervillain who fumed and enchanted her way through the first film.
Queen Freya seizes children to raise as an army of fierce warriors (the huntsmen), which she uses to expand her kingdom. She imposes only one rule on her adult “children”: no love allowed! But huntsmen standouts Eric (Chris Hemsworth) and Sara (Jessica Chastain) aren’t having it. So Freya uses her sorcery to separate the lovers.
Years later, Eric and Sara reunite, albeit discordantly, on a quest to retrieve the now lost magic mirror before Freya gets it and catastrophe ensues. They are joined by four dwarves, highlighted by Nion (Nick Frost) and the feisty widow Mrs Bromwyn (Sheridan Smith).
Though Winter’s War advertisements exhibit the villainous sisters in all their regal splendor, the film offers a more traditional hero. Eric faces the dual challenge of finding that mirror (i.e. saving the world) and convincing Sara of his constancy. Our hero smiles, chuckles, and tosses around his machismo in typical Hemsworth fashion.
It’s Not Plot
And what will this band of likely and unlikely heroes do when it gets the mirror? Does it really matter? The mirror is really just a device holding things together. The strength of Winter’s War lies not in plot or concept, but in the special effects that, like the gold flakes around Ravenna’s eyes, sparkle throughout the film to create an atmosphere.
Besides the sisters’ conjurations—more on this later—the special effects engineers rise to the challenge with a collection of CGI creatures that populate this fairy tale world: too-small-to-see sprites that leave light trails in their wake, bright red squirrels, swarms of butterflies hitching a ride on a hedgehog, bling-wearing goblins that look and move like apes but have ram-like horns, and turtles and snakes with skin made out of grass. Then there are the voyeuristic, pint-size slender creatures that hide in vegetation and silently watch the adventurers. Creepy. Cool.
Winter’s War also offers several rousing fight scenes, especially the quarrels at the palace entry and tavern. The tension builds, the outnumbered heroes remain remarkably calm, the enemies assemble, and then the powerful Eric and acrobatic Sara deliver a beat down . . . or get beat up. The lack of music during these scenes adds to the intensity by emphasizing the thumping, crashing, and other skirmish sounds.
Sisters Sorcerous and Sexy
Someone once said, “There’s nothing quite like angry, beautiful women in glittering regalia working magic.” Actually, I don’t think anyone said that, but there is some truth to it.
The film treats Freya and Ravenna with the reverence that royalty commands. For instance, the grandeur of the sisters’ costumes gets elevated by audio embellishments such as the chain-like slinking of Queen Freya’s train as she promenades toward her captives, or the metal finger claws that Ravenna taps and scrapes on various surfaces.
Freya is the subdued, though still highly dangerous version of her older sister. Her finery glistens like frost and offers a contrast of colourless austerity and glittering flamboyance much like the character. Example: she might tear up while she casts a spell that ruins a person’s life.
But don’t expect any tears from Ravenna, unless they’re tears of rage. The only criticism of Theron’s ruthless sorceress is that she isn’t on the screen more. Indulge in Theron’s mastery of her craft as she greets Eric after a long absence, slathers a supervillain laugh over her adversaries, and seduces her chess partner.
During the climax, the sisters use Freya’s royal hall to put on a rock concert of sorcery, their instruments being ice (Freya) and tar-like tentacles (Ravenna) that aim to impale.
When life’s pressures mount, mindless fantasy films like this one offer a much-needed respite. I’ve seen characters using magic powers to freeze stuff. I’ve seen goblins and dwarves. I’ve seen super clear distinctions between good and evil. And I don’t mind seeing it all again: that stuff’s therapeutic. – Douglas J. Ogurek ****