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The director Kevin MacDonald is something of a master of applying the "you are there" approach to scenarios and settings from which most people would very gladly be spared. Whether it's falling off of a mountainside (his 2003 documentary " Touching the Void ") or trying to dodge getting oneself killed by ferocious, depraved Ugandan dictator Idi Amin (2006's "The Last King of Scotland," for which Forest Whitaker won a best actor Oscar in the Amin role), MacDonald is at his best putting the viewer exactly where no one in his or her right mind would want to be.

So the fact that his latest film, "How I Live Now," adapted from a novel by Meg Rosoff, is about a band of teens and children in the British countryside trying to stay alive after London gets hit by a nuclear explosion bodes well for the quality of the film. And indeed, for much of its running time the movie is grab-you-by-the-back-of-the-neck immediate; in its last third particularly, the bite-your-lip moments of suspense and tension mount to the extent that you may well draw blood.

The terrific young Irish actress Saoirse Ronan here plays Elizabeth, who insists on being called "Daisy," and whose problem-child status is established even before the opening credits begin: The nagging voices in her head are heard on the soundtrack even as the production company logos are unspooling. Now almost 20, Ronan has gotten tall, and her lovely face is long and lean; she can imbue her disturbed adolescent character with a formidable intensity merely by cocking her head and looking down. She does a lot more of course, and her character's petulance upon being exiled from New York to Britain to stay with cousins she barely knows has a particular quality that made me wonder whether she'd boned up on the role by studying the behavior some of her peers exhibit at press junkets.

In any event, Daisy is at first very reluctant indeed to join her young cousins in their little war games or forays to a gorgeous pond and waterfall near their rambling, cozy house. The lyricism of the Wordsworth-worthy setting is underscored by a nice selection of English folk-rock on the soundtrack; but soon an ominous electronic score by Jon Hopkins replaces the sounds of Fairport Convention and Nick Drake. The only adult in the house happens to be a diplomat; she flies off for an important conference, the kids are disturbed/exhilarated by a V-formation of fighter jets, and soon after that, the news comes that London's been nuked.

The premise of experiencing an apocalyptic disaster from a far remove was famously explored in Andrei Tarkovsky's 1987 " The Sacrifice ," itself a masterpiece of dread (and redemption); "How I Live Now" takes an approach that finds its poetry via the meticulous depiction of terrifying conditions complementing the story of a young woman finding herself. (There are also hints, in its depiction of war from a young person's perspective, of Elem Klimov's remarkable masterpiece "Come And See.")

Some cynics may observe that the end of the world as we know it is one hell of a time to find yourself, and object to the movie on some kind of moral ground as a result. For myself, I found the way that the Daisy character softens, and acknowledges her love for oldest cousin Eddie (who's gentle and has know-how and has raised a hawk, even, but also isn't terribly cool-headed at times when it would count), right after the first horrific turn of events, to be kind of on the abrupt side.

But the movie finds a compelling groove once Daisy's new-found family loyalty is established, and a visit from an American diplomat offering Daisy a get-out-of-hell-free card prompts her decision to stay with her own, who also number the vulnerable and adorable (but not cloyingly so) little girl Piper ( Harley Bird ), who brings out Daisy's most vehement maternal instincts after the females are separated from the boys by an Orwellian martial-law apparatus. Daisy shows almost lunatic determination, after freeing herself and Piper, to get back "home;" and what she needs to do is not just negotiate a seemingly endless maze pitted with bad men with guns and rape intentions, but quell the aforementioned voices in her head.

It's strong stuff, and the actors are fully up to it. MacDonald depicts the horrors of war and dislocation with such commitment that you might find the determinedly YA affirmations that the movie moves toward to be something of a relief when they do arrive.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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How I Live Now (2013)

101 minutes

Saoirse Ronan as Daisy

Tom Holland as Isaac

Anna Chancellor as Aunt Penn

George MacKay as Edmond

Corey Johnson as Consular Official

Sophie Ellis as Farm Girl

Harley Bird as Piper

Sabrina Dickens as Guerilla Soldier Girlfriend

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Movie Review

Young Love, Interrupted by a Nuclear Bomb

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By Jeannette Catsoulis

• Nov. 7, 2013

You know what it’s like when you fall in love for the first time, and then World War III breaks out? Well, Daisy (Saoirse Ronan), the spiky 16-year-old American heroine of “How I Live Now,” is about to find out. Shipped off for the summer to relatives in the English countryside, Daisy hides her vulnerability behind bleached-out bangs and coal-black eyeliner, compulsively washing her hands after contact with her free-spirited cousins and their chaotic farmhouse.

Prioritizing feelings over information and sentiment over tension, the director, Kevin Macdonald — who, with films like “The Last King of Scotland” and “State of Play,” has been more accustomed to the power plays of grown men than the emotional journeys of teenage girls — fully commits to Daisy’s point of view. But this respectful adaptation of Meg Rosoff’s 2004 young-adult novel loses its footing when Daisy’s attraction to Cousin Eddie (George MacKay), an enigmatic cow whisperer and hawk healer, is harshly interrupted by a nuclear device that devastates London.

As sun-dappled infatuation abruptly crashes into post-apocalyptic survival, Mr. Macdonald struggles to balance a nebulous narrative on tentpole moments of rich emotional resonance. Neither those nor the considerable skills of Ms. Ronan are enough to save completely a film whose R rating may scare off the younger teenagers who will most appreciate its obsessive romanticism. But by divorcing the second half’s random horrors from a larger political picture, Mr. Macdonald gives them a shocking immediacy, and sometimes that’s enough.

“How I Live Now” is rated R (Under 17 requires accompanying parent or adult guardian). Teenage sex and adult atrocities.

Opens on Friday in Manhattan. Directed by Kevin Macdonald 1 hour 41 minutes

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Movie Reviews

The end of the world, as she knows it.

Mark Jenkins

Daisy (Saoirse Ronan) is just a typical teen struggling with boys, family and growing up — and also what might be the apocalypse. Nicola Dove/Magnolia Pictures hide caption

How I Live Now

• Director: Kevin Macdonald
• Genre: Drama
• Running Time: 101 minutes

Rated R for violence, disturbing images, language and some sexuality.

With: Saoirse Ronan , George MacKay , Tom Holland

Because it serves up Armageddon with a side order of teen romance, How I Live Now is not always credible. But as a portrait of a surly 16-year-old whose internal crisis is overtaken by an external one, the movie is persuasive.

For that, credit goes partly to director Kevin Macdonald, but mostly to his star, Saoirse Ronan. Playing a neurotic urbanite who learns to survive in a war-ravaged landscape, the actress is, appropriately enough, a force of nature.

The opening sequence, set in an unidentified British airport, announces that the movie shares its lead character's perspective. We're practically inside the head of Ronan's Daisy, and it's a noisy place. Her thoughts — angry, insecure, self-rebuking — compete with the glam-rock song pulsing from her purple headphones.

The film's script was adapted from Meg Rosoff's 2004 novel, some of whose fans are unhappy with the alterations. In the book, Daisy is anorexic; in the movie, she's obsessive-compulsive, with a fear of germs and gluten and a hand-washing fixation. Also, the cousins she's about to meet have been condensed; one onscreen boy combines the roles of two in the original tale.

Daisy was raised in New York by her American father; the dead mother she doesn't remember was the sister of Aunt Penn (Anna Chancellor). Penn's children are teenagers Edmond (George MacKay) and Isaac (Tom Holland) and their little sister, Piper (Harley Bird). While the two younger kids are chatty, Edmond is a handsome brooder.

Shot in the Welsh countryside, the movie briefly evokes a life attuned to natural rhythms. Daisy's goth-girl facade slips as she visits the local swimming hole, and watches Edmond chat with cows and tend to an injured hawk. Bucolic 1970s British folk-rock (Nick Drake, Fairport Convention) alternates with Jon Hopkins' techno score as Daisy and Edmond fall in love.

Before a London bombing that triggers martial law across England, Daisy and Edmond (George McKay) fall for each other among the idylls of the countryside. Magnolia Pictures hide caption

Before a London bombing that triggers martial law across England, Daisy and Edmond (George McKay) fall for each other among the idylls of the countryside.

Life isn't so pleasant beyond the confines of the family farm, however. Aunt Penn spends all her time on her phone or computer, trying to avert some geopolitical crisis. She heads for Geneva, too late to prevent the catastrophe, and is never seen again.

Then a bomb detonates in London and martial law is declared. The kids hide in a secluded barn, but are soon captured. Edmond and Isaac are sent to a detention camp, while Daisy and Piper find themselves sorting through rotted vegetables in search of the occasional edible one. They live with a latter-day Dickensian matron, and sleep in the room of a young man who's gone off to war.

Before he was caught, Edmond told the others to meet him back at the farm, so when a skirmish provides a distraction, Daisy and Piper slip away and head home. At its most ominous, this section resembles the chilling scene in Germany, Pale Mother in which a woman leads her young daughter through the remains of a Nazi death camp. The ever-present threat of sudden savagery also recalls Macdonald's The Last King of Scotland .

Less plausibly, Daisy tangles with thugs in the woods, protecting Piper with a bit of the assassin's skill Ronan demonstrated in Hanna , a tough-girl fable even more fantastical than this one.

The movie is wise to focus tightly on Daisy and her cousins, without explaining the larger events. But this approach leaves a nagging question: Why would British troops brutalize kids who are neither outsiders nor insurgents?

How I Live Now doesn't say. It's better at conveying raw emotions and intense sensations, translating the interior turmoil of adolescence into real-world combat. As Macdonald deftly presents a subjective viewpoint, Ronan endows her overly schematic character with authentic desire, resentment and willfulness.

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How I Live Now Reviews

Im not saying the impending possibility of a world war three is a good thing for young people. But we all know the trend of dystopian films was sparked by the fear that some of us were going to see the world literally explode.

Full Review | Feb 21, 2022

A treat for the eyes, but rings hollow in the story and character department.

Full Review | Original Score: 2.5/5 | Feb 1, 2021

How I Live Now is a simpler tale about a young girl who finds her own power in a hostile world. In the battle-scarred world that is the movie business, this film deserves to find a place.

Full Review | Mar 11, 2020

Although stylistically and tonally interesting, it relies too heavily on forced and rushed character connections to make it as visceral and involving as it wants to be.

Full Review | Feb 13, 2020

An incredible story, powerful emotion, another strong female character in today's mix of books and movies, How I Live Now is lesson on how the world should live - always.

Full Review | Jan 8, 2020

An odd-duck hybrid of a teenage summer romance and an apocalyptic nightmare, How I Live Now has some impressive ambitions, but mostly it comes off like a Nicolas Sparks rewrite of Red Dawn.

Full Review | Original Score: 2.5/5 | Jun 17, 2019

Though such subject matter may sound provocative on paper, Macdonald's big screen translation is too dour and generic to ever truly capture the imagination.

Full Review | Original Score: 2/5 | Mar 5, 2019

Although ambitious with its take on young love within the possible confines of a grueling Armageddon, dullards Daisy and Eddie opt for a hormonal hayride in the English countryside.

Full Review | Original Score: 2/4 | Nov 12, 2018

How I Live Now is a drastically different sort of film, though Ronan's performance is one of her best yet.

Full Review | Aug 28, 2018

Largely covers the same territory occupied by Tomorrow, When the War Began, but with more intelligence, restraint and better production values.

Full Review | Original Score: 3/5 | Aug 9, 2018

Oscar-nominated former child star [Saoirse] Ronan is a reason enough to see any film.

Full Review | Original Score: 4/5 | Sep 6, 2017

Based on the YA novel by Meg Rosoff, How I Live Now finds itself hindered by its source material, even as it seeks to surpass it.

Full Review | Original Score: 5.5/10 | Aug 18, 2014

Saoirse Ronan supplies what the screenwriters do not

Full Review | Original Score: 2.5/4 | May 15, 2014

Lush and bewilderingly rich with portent and moment, Kevin Macdonald's gently wrought apocalyptic-pop teen romance takes place in a deadly near future in the English countryside far from the center of modern war.

Full Review | Apr 5, 2014

How I Live Now is likely to appeal to both teens and older viewers, and it thankfully doesn't blindly follow formulas, but allows itself to drift and flow.

Full Review | Original Score: B | Mar 13, 2014

On the outside, How I Live Now looks like a mess. Part Tomorrow When the War Began, part The Shining, part 28 Days Later, it's a hodgepodge of concepts that don't completely gel. So it's weird that the film is actually quite good.

Full Review | Feb 28, 2014

I did not believe what was happening. I didn't particularly like the performances.

Full Review | Original Score: 2.5/5 | Feb 18, 2014

Not having read the book on which this impressive film is based I was completely unprepared for the way the narrative developed.

Full Review | Original Score: 4/4 | Feb 18, 2014

It's easy to see what the filmmakers were going for: a story of young love and survival during wartime, but there are far too many holes in this story and a lack of essential ingredients to make it work.

Full Review | Original Score: 2/5 | Feb 10, 2014

[A]rguably delves into country matters more deeply than any precursor in cinema.

Full Review | Feb 6, 2014

How I Live Now Review

04 Oct 2013

101 minutes

How I Live Now

Kevin Macdonald's version of Meg Rosoff’s novel is at its best when not concerned with plot. Its take on a future UK is intriguing — not gadgets and gleaming glass structures, but a worn version of the place we know, heavily militarised as it awaits inevitable attack, which when it comes is less than the anticipation. Daisy (Saoirse Ronan), a girl sent to live with relatives in the country, comes to love them, especially the handsome one. The war separates them and she vows to find her way back, but the journey is often a repetitive trek towards the inevitable.

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Review: how i live now.

The film never recovers from director Kevin Macdonald’s indifferent staging of a pivotal moment.

Kevin Macdonald’s How I Live Now opens with Daisy (Saoirse Ronan), a contentious, insecure American teenager, learning to adjust to an entire summer living in the English countryside with a variety of initially amusing cousins—an existence that would appear to be hell for someone just coming into their independent woman-ness. There’s no space, lots of gross little boys and animals, and nothing in the way of any sense of propriety. It isn’t all bad though: We soon learn that they’re only Daisy’s cousins by marriage, which is revealed to be a relief when kind, hunky Edmond (George McKay), starts to regard her from afar as she berates his siblings for their teeming noisy slovenliness. Soon, too soon, Daisy melts in Edmond’s arms, transformed by his sturdy embrace and powers of observation from a raw nerve into a survivalist can-doer who might make even Katniss blush. Daisy’s self-actualization turns out to be well-timed, too, as the family is soon separated by the intervening military in an attempt to contain a murkily defined uprising that’s already led to the detonation of a nuclear weapon in London.

There are a few effectively disquieting sequences early on, but the film never recovers from Macdonald’s indifferent staging of a pivotal moment: Daisy’s transformation from a paranoid self-absorbed teen to a ferocious young fighter determined to get back to her lover. Trying to redeem typically sexist empowerment kitsch, Macdonald essentially elides potentially sweeping emotional moments that should bring us closer to Daisy and, by extension, render us vulnerable to mounting atrocities as the film switches gears from a tale of summer love to a parable of a society driven toward temporary dictatorship by an encroaching menace. We’re detached from our potential surrogate at precisely the point when her point of view should be syncing up with ours, as well as standing in for all the tarnished idealism of war-torn Britain. Inescapably then, How I Live Now , though rife with incident, feels rote and processional: Nothing we see matters, and nothing seems to mean anything at all apart from a vaguely defined resonance with Daisy’s now steely courage. The film is all structure, all good taste and chalked-in characters arcs. As potential ends of the world goes, it’s all awfully tidy and dull.

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Movie Review: How I Live Now (2013)

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• One response
• --> January 14, 2014

Staying cautious.

When the beautiful, young Saoirse (pronounced “Seersha”) Ronan stunned us all with a fantastic performance as the title character in “ Hanna ,” it was easy to believe she’d soon be taking Hollywood by storm; little did we know that what she has in talent, she unfortunately seems to lack in wise decisions. First came the latest adaptation of Stephenie Meyer’s work — a film called “ The Host ” that exists in relative anonymity, as well it should do — and now, it’s clear that her latest appearance in How I Live Now isn’t going to be taking her places either. While she is the saving grace of the film, it’s not enough to make it more than mildly tolerable at best.

The film is an adaptation of the 2004 novel by Meg Rosoff, and centers around Daisy, a despairing teenage girl who finally manages to let herself be vulnerable and fall in love, only to have it all ripped away by none other than World War III. If you think that sounds like a mildly ridiculous premise, you’re correct. Nevertheless, some truly fantastic creations have come from ideas even more absurd, and How I Live Now certainly had the potential to jump on the young, powerful female bandwagon (see “ The Hunger Games “). But in trying to achieve a middle ground between apocalyptic action and “ Twilight ” inspired teenage romance, director Kevin Macdonald instead creates a poorly balanced film that spends too long on one aspect only to clumsily attempt to jump to the other. The result is a film that alienates both its older audience, attracted by the misleading depth of the trailer, and the teens, who otherwise sympathize with the angsty protagonist.

When conflicted American girl Daisy moves to the English countryside to stay with her aunt and cousins, she arrives amidst news reports of some sort of catastrophe looming. We’re never really sure what this catastrophe is, although a later nuclear detonation leads us to believe there are international conflicts of some vague nature. This ambiguity doesn’t help keep the focus on the characters and their reactions, as I suspect was intended, but instead seems like lazy writing — with three writers involved in the script it seems as though they simply couldn’t agree on one cause and so left things irritatingly unanswered. A similar obscurity clouds Daisy’s relationship with Eddie, her cousin, and by the time the children are separated from one another and Daisy resolves to find Eddie again, we’re left wondering when things ever became that serious. Perhaps it’s just the intensity of young love, but Daisy’s determination to fight her way back is nothing short of inspired. If only we’d seen a bit more of what inspired it, we might have been able to sympathize.

Love conquers all.

In a mismatched compilation of genres, the acting truly manages to make the best of a bad bunch; even temporarily forgetting Ronan’s involvement, child actors Tom Holland and Harley Bird have done a spectacular job of making this impossible world more believable. Credit particularly has to go to George MacKay, whose intensely serious performance stopped me from rolling my eyes at some of Eddie’s affected “tortured soul” characteristics (in all seriousness, he’s a cow whisperer). Ronan, with her inquisitive eyes and innocent yet tortured face, also particularly shines at portraying buried troubles and a depth that I’m not convinced her character even has. It’s particularly a feat given that Daisy has to be one of the most annoying, self-entitled characters to anchor a film in a while, living purely in her world of imagined problems while the others go out of their way to accommodate and include her.

How I Live Now is certainly a change of pace for Macdonald, whose previous works (“The Last King of Scotland,” “ The Eagle “) revolved a little less around personal drama. If this film is his perspective on teenage girls, he must think their minds incredibly boring — the kind of boring that would make an entire nuclear war seem tedious. In the same way his visually arresting shots of peaceful life turn into overused shaky endeavors to evoke chaos, what starts as an interesting attempt to merge the realities of young lives into the chimera of warfare quickly becomes a mere assortment of clichés.

Tagged: armageddon , love , novel adaptation

P loves dancing and hates people that don't give a film their full attention. She also uses words like love and hate far too liberally.

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'Movie Review: How I Live Now (2013)' has 1 comment

January 14, 2014 @ 3:03 pm LIQUIDATOR

An actor has to work. Saoirse may not have the luxury of picking and choosing the roles she takes.

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How I Live Now

Today teenagers in first world nations are practically entitled to a safe obliviousness of the world around them. All a teenager's thoughts can be relentlessly turned inward to force him or her to tirelessly attack and question themselves, while the greater world could well be going to hell in a hand basket. But the luxury of this self-indulgent/self-destructive lifestyle is one stolen from the children of How I Live Now , a coming-of-age drama set against the backdrop of a murky and merciless war.

Adapted from Meg Rosoff's celebrated first novel, How I Live Now stars Saoirse Ronan as a fifteen-year-old New Yorker whose widowed father sends her to visit with her aunt and cousins in rural England. Upon her arrival, Daisy is determined to sneer at her country cousins' plans for fun, like swimming in a nearby lake. But her resolve to brood softens as she forms an almost instant crush on the hunky Edmond (George Mackay). (To avoid discomfort as this romance blossoms, Daisy makes it a point to note Edmond is technically Daisy's step cousin, though how that follows is never explained.) When she arrived, Daisy's brain rages with a cacophony of self-criticism--in the form of voiceover--but her mind mellows and she actually smiles as Edmond shows her love and tenderness.

But this idyllic retreat is short-lived. One lovely summer afternoon turns terrifying when a thunderous boom sounds and winds swirl around their fields and forests in a frenzied dash. Even at a distance, the children know it means the brewing war has gotten serious and they are now on their own. Surviving whatever may follow is a task made all the more challenging when a military state separates the girls, Daisy and her spirited young (step)cousin Piper (Harley Bird), from the boys , Edmond and his sweet bespectacled brother Isaac ( Tom Holland ).

Young adult novels often focus on a character's coming of age through a story in which they stop thinking of themselves and instead consider sacrificing their own happiness or safety for the betterment of others. Rosoff's story uses this war as the setup for which Daisy must grow from self-centered teen to a selfless young woman. At the crux of her transformation is an arduous and dangerous journey she leads Piper on to escape their government mandated refugee camp to the safety of the farm house where she dreams of reuniting with Edmond once more. It's a fascinating story, but unfortunately one that is told with a slapdash attitude.

Kevin Macdonald, who forged a noteworthy reputation with dramas like The Last King of Scotland and State of Play , directs How I Live Now with an intentional ambiguousness that works only in fits and starts. The mysterious and terrible war is vaguely skethced-- we never get the details of who's fighting, only images of fighters, wreckage and refugees-- but it makes sense from Daisy's point of view; who cares whose fighting when they all seem out to get you? But Daisy herself also feels hastily established, which makes her transformation less clear. Introduced as an abrasive and neurotic girl, she drops her hard edge almost as soon as Edmond first flirts with her. But little is left to replace these traits except moony eyes of infatuation. From there the pair's romance progresses so quickly that it doesn't feel grounded before they are separated and we're to believe this great love is enough to link them so deeply that Daisy and he can speak through premonition dreams. This is not helped by the depiction of Edmond, which is so one-note in its dreaminess that he seems less a character than an abstraction of the perfect teen boy with his big smile, simple brawn, and endless warmth.

Shockingly, Ronan lends little depth to Daisy. Instead, she seems straining to play a normal girl, one who isn't dead, a vampire, or a teen assassin. While I could intellectually connect to the horrible dilemmas facing Daisy, they didn't hit on an emotional level because Ronan's performance is alternately flat or shrill. It brings me no joy to say that, as I've greatly admired Ronan in the past, especially in Hanna , where a scene of awkward flirtation with a boy feels authentic yet true to its out-therestory. Here she is like a shadow of a real girl, lacking the passion, complexity and life that could have made her a truly captivating heroine.

Nonetheless, I generally enjoyed How I Live Now . Its story offers an intriguing and unique angle on a classic YA theme. It features some striking visual moments, and a hard-earned message of hope and perseverance. But Macdonald seems out of his depth directing a kid-centered drama, and the characters suffer, coming off as archetypes (the dream boy, the nerdy brother, the obnoxious little sister) or never quite coming together at all. It's a difficult thing translating a book that is told in the voice of a character to a film where most of her internal monologue is stripped away. And it's a shame that so much was stripped away that How I Live Now 's heroine seems barely there at all.

Staff writer at CinemaBlend.

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How I Live Now, Review

Harrowing adaptation of young adult novel set in future war-torn England has uneven tone but gripping and often brutal story.

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3.5 out of 5

Don Kaye | @donkaye

Don Kaye is an entertainment journalist by trade and geek by natural design. Born in New York City, currently ensconced in Los Angeles, his earliest childhood memory is…

How I Live Now (2013)

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How I Live Now

Set in the near-future UK, Ronan plays Daisy, an American teenager sent to stay with relatives in the English countryside. Initially withdrawn and alienated, she begins to warm up to her charming surroundings, and strikes up a romance with the handsome Edmund (George MacKay). But on the fringes of their idyllic summer days are tense news reports of an escalating conflict in Europe. As the UK falls into a violent, chaotic military state, Daisy finds herself hiding and fighting to survive.

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Toronto Film Review: ‘How I Live Now’

Held together by a forceful performance from Saoirse Ronan, director Kevin Macdonald's adaptation of Meg Rosoff's novel makes up in emotional immediacy what it lacks in broad dramatic sweep.

By Justin Chang

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The outbreak of World War III is viewed through the narrow but steadily captivating lens of an American teenager dwelling abroad in “ How I Live Now ,” a story of young love that quickens into a harrowing survival thriller. Held together by a forceful performance from the ever-resourceful Saoirse Ronan , director Kevin Macdonald ‘s uneven but passionate adaptation of Meg Rosoff’s prize-winning 2004 novel wisely sticks to its protagonist ‘s p.o.v. while avoiding a longer view of the calamitous events around her, making up in emotional immediacy what it lacks in broad dramatic sweep. Likely to be perceived as too violent for younger audiences but too goopily romantic for older arthouse-goers, the Magnolia release reps a tricky marketing proposition that will require ample critical support when it bows Stateside Nov. 8.

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The film’s opening stretch is not especially promising, insofar as it seems determined to shackle the viewer to the most unpleasant lead character imaginable. That would be Daisy (Ronan), a New York teenager who, estranged from her immediate family, has come to spend the summer with her cousins in the English countryside. First seen arriving at Heathrow in leave-me-alone shades and headphones, Daisy proves hostile and stubborn from the get-go, rebuffing the warm welcomes of 14-year-old Isaac ( Tom Holland ) and his talkative younger sister, Piper (Harley Bird), though she regards their quiet, handsome older brother, Edmond (George MacKay), with almost grudging curiosity. In an early tipoff of what’s to come, the nominal parent of the household, Daisy’s Aunt Penn (Anna Chancellor), spends almost all her time in Geneva as part of ongoing international peace talks, while TV news reports of bombings elsewhere on the continent suggest a world quickly sliding into turmoil.

Popular on Variety

Daisy’s company is not made much more bearable by the incessant interior monologue we hear on the soundtrack, a constant stream of self-improvement tips such as “Step out of your comfort zone” and “Take risks.” Slowly but surely, she learns to do just that as her cousins — often accompanied by young friend Joe (Danny McEvoy) — wear down her defenses, bring out her inner sunshine, and introduce her to the pleasures of their blissfully unsupervised existence. At times resembling a coed version of Peter Pan’s Lost Boys, they spend much of their time wandering the countryside and swimming in a nearby lake; as vibrantly lensed by Franz Lustig, it’s a backdrop wild and romantic enough that Daisy and Edmond soon fall in love.

It’s during one such outdoor idyll that everything changes: Time seems to stand still as the kids hear a dull, distant rumble, followed by a sudden flurry of what initially look like snowflakes. Haunting and grimly poetic, the scene works because Macdonald (directing from a script by three writers) so scrupulously adheres to his characters’ restricted vantage, allowing the audience to share in the confusion and terror of suddenly being caught up in events beyond their understanding. Eventually, of course, it becomes clear what has happened: Terrorists have bombed London and martial law has been declared, setting in motion a chain of events that will reach even into their woodland refuge, tearing their fragile family unit apart.

From there, “How I Live Now” shifts into full-on disaster-movie mode as violent circumstances rip Daisy and Piper away from the boys and send them to London, where they are put to work at a labor camp. If we never get a complete picture of exactly what’s going on in the streets around them, let alone the world beyond Blighty, it’s a limitation that nonetheless dovetails with the film’s dramatically fixed perspective, as Macdonald wisely serves up a few fascinating, plausible details — the cold plates of spam and vegetables that pass for dinner; the tablets that must be used to disinfect all drinking water following threats of mass contamination — and allows our minds to fill in the rest.

Soon the story morphs yet again, as Daisy and Piper go on the run and encounter obstacles that bring to mind Cate Shortland’s recent youth-in-wartime-peril drama “Lore,” achieving moments of sharp, bristling tension as well as one grisly apotheosis-of-war-style tableau. Perhaps the film’s most obvious flaw is that Daisy’s fierce determination, pushing her to ever more desperate survival tactics, hinges primarily on her longing to be reunited with Edmond, a twist that may strike some viewers as naive and sentimental; at the same time, there’s something admirable about how unapologetically the film embraces its protagonist, moony teenage romanticism and all. It’s also clear that Daisy’s makeshift family unit was something special indeed, and there’s nothing weak or naive about her desire to salvage it, even if it means a life-or-death journey.

The role of Daisy likely wouldn’t have worked with a less capable actress at the helm, and Ronan, whose recent performances in films like “Hanna” and “The Host” have proven her willing to get her hands dirty, gives flesh, ferocity and weight to the character’s many transformations, from sullen ingrate to loving cousin, from passionate lover to Katniss Everdeen-style heroine. The other roles have been conceived along much thinner lines, although MacKay has a nice, watchful presence as the somewhat idealized love interest (he can tame hawks!) and Holland, so good in “The Impossible,” brings some of that pluck and energy to his scenes here.

Macdonald does crisp, propulsive work in conjunction with editor Jinx Godfrey, while Jacqueline Abrahams’ production design makes the most of the film’s limited resources and intimate scale. Sound work is meticulous.

Reviewed at Wilshire screening room, Beverly Hills, Aug. 20, 2013. (In Toronto Film Festival — Special Presentations.) Running time: 101 MIN.

• Production: (U.K.) A Magnolia Pictures (in U.S.) release of a Film4 and BFI presentation, in association with Protagonist and Entertainment One, of a Cowboy Films and Passion Pictures production, in association with Prospect Entertainment. (International sales: Protagonist Pictures, London.) Produced by Andrew Ruhemann, John Battsek, Charles Steel, Alasdair Flind. Executive producers, Tessa Ross, Robert Walak, Piers Wenger, Nigel Williams.
• Crew: Directed by Kevin Macdonald. Screenplay, Jeremy Brock, Penelope Skinner, Tony Grisoni, based on the novel by Meg Rosoff. Camera (color), Franz Lustig; editor, Jinx Godfrey; music, Jon Hopkins; music supervisor, Abi Leland; production designer, Jacqueline Abrahams; art director, Astrid Sieben; set decorator, Philippa Hart; costume designer, Jane Petrie; sound (Dolby Digital), Nigel Albermaniche; sound designer, Glenn Freemantle; re-recording mixers, Ian Tapp, Niv Adiri; special effects supervisor, Chris Reynolds; visual effects supervisor, Simon Hughes; visual effects, Union Visual Effects; stunt coordinator, Jo McLaren; line producer, Rosa Romero; associate producers, Jeremy Brock, Nicole Stott; assistant director, Adam Lock; casting, Nina Gold.
• With: Saoirse Ronan, George MacKay, Tom Holland, Harley Bird, Anna Chancellor, Danny McEvoy.

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How i live now.

• Common Sense Says
• Parents Say 4 Reviews
• Kids Say 5 Reviews

Common Sense Media Review

Dark war drama depicts teen love, realistic violence.

Parents Need to Know

Parents need to know that How I Live Now is a wartime relationship drama set in the near future based on an award-winning young adult novel. The film adaptation doesn't shy away from the mature elements in the story: (semi-related) teens have sex, war breaks out, teen and adult characters die or live in…

Why Age 16+?

Frequent curse words such as "f--k," "s--t," "a--hole,&

Teenage step-cousins (in the book they are first cousins) fall in love, kiss pas

The war leads to martial law, gun-toting soldiers who drag the girls away and pu

Daisy takes pills, but it's unclear exactly what they're for; and severa

Apple products are visible.

Any Positive Content?

The story emphasizes the importance of family and feeling at home somewhere, plu

Daisy, despite her tough exterior, is vulnerable, lonely, and emotionally fragil

Frequent curse words such as "f--k," "s--t," "a--hole," "dick," and more.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Teenage step-cousins (in the book they are first cousins) fall in love, kiss passionately, and have sex on more than one occasion. The love scenes don't show any nudity, but do linger on skin, particularly backs, faces, arms, and legs.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Violence & Scariness

The war leads to martial law, gun-toting soldiers who drag the girls away and punch one of the brothers. Characters are shot or found dead. In one sequence, men are shown beating and about to rape or kill a woman. Two men menacingly follow two girls and catch one before the other shoots at them. A character finds a mound of corpses in bags and opens them open one by one looking for someone she recognizes.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Drinking, Drugs & Smoking

Daisy takes pills, but it's unclear exactly what they're for; and several adults smoke cigarettes.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Products & Purchases

Positive messages.

The story emphasizes the importance of family and feeling at home somewhere, plus the intensity of finding a love to believe in and fighting to defend those you love.

Positive Role Models

Daisy, despite her tough exterior, is vulnerable, lonely, and emotionally fragile. She grows throughout the movie, opens herself up to love, and bravely defends and protects her young cousin Piper. Edmond has a soulful connection to nature, and is incredibly empathic. His siblings Isaac and Piper fiercely love their family and want to stay together.

Parents need to know that How I Live Now is a wartime relationship drama set in the near future based on an award-winning young adult novel . The film adaptation doesn't shy away from the mature elements in the story: (semi-related) teens have sex, war breaks out, teen and adult characters die or live in constant peril, and there's a lot of strong language. The main love scene between two teens is discrete, and mostly in shadow, but audiences can see their bare backs, legs, kissing, and hear moaning. There's also passionate kissing and frequent use of "f--k," "a--hole," "s--t," and other expletives. The violence is realistic and disturbing and includes corpses and a potential rape. Parents and mature teens will have plenty to discuss about the nature of war, the importance of belonging, and the intensity of first love after the movie. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Parent and Kid Reviews

• Parents say (4)
• Kids say (5)

Based on 4 parent reviews

Not a Young Adult/Childrens Movie.

What's the story.

In HOW I LIVE NOW, troubled American teen Daisy ( Saoirse Ronan ) is shipped off to the English countryside to stay with her relatives. At first Daisy is unimpressed by her Aunt Penn ( Anna Chancellor ), an overworked terrorism expert, and self-sufficient step-cousins: handsome Edmond ( George MacKay ), gentle Isaac ( Tom Holland ), and chatty young Piper (Harley Bird). Things take an unexpected turn when World War III breaks out while Aunt Penn is abroad, England closes its borders and imposes martial law, and Daisy finds herself passionately drawn to Edmund. But the torrid first love is short-lived when soldiers arrive to send the girls to a foster home and the boys to a labor farm.

Is It Any Good?

As in the book, ugly things happen in this film, and it's best for mature high schoolers and adults. Rosoff's book is a difficult one to adapt, with its outbreak of World War III, lyrical passages, traces of magical realism, and the torrid sexual relationship between 14- and 15-year-old first cousins. Director Kevin Macdonald ages up the main characters, erases the blood relation (for American audiences, no doubt), and smartly puts the film in the hands of one of Hollywood's most talented young actresses, Academy Award-nominated Saoirse Ronan , who is up to the task of tackling Daisy, an at-times unlikable, inscrutable protagonist.

Ronan's ethereal beauty and natural talent help her carry the dark drama that's part war movie, part love story, and part coming-of-age tale. She has a visceral chemistry with MacKay, and their connection rings true despite how quickly it turns into passion. The movie is reminiscent in tone of Children of Men (but with less violence), and will make audiences think of whether parentless teens and kids could rise to the occasion to protect and care for one another. Once the story transitions from the cousins' light-dappled country house to the temporary residence Daisy and Piper are forced to move to, it shifts from romance into bleak war drama.

Talk to Your Kids About ...

Families can talk about whether the movie is a war drama, a teen romance, a dystopian story, etc. Which genre does it fit in? The book it's based on is considered young adult, but what about the movie -- is it for a teen audience?

Discuss the romantic teen relationship in the movie. How is adolescent sex portrayed? Is it believable for teens to be drawn to each other under the circumstances?

Those who've read the book : How does the film compare? What do you think of the changes made to the characterizations and the story lines?

Movie Details

• In theaters : November 8, 2013
• On DVD or streaming : February 11, 2014
• Cast : George MacKay , Saoirse Ronan , Tom Holland
• Director : Kevin Macdonald
• Inclusion Information : Female actors
• Studio : Magnolia Pictures
• Genre : Drama
• Topics : Book Characters , Brothers and Sisters
• Run time : 101 minutes
• MPAA rating : R
• MPAA explanation : violence, disturbing image, language and some sexuality.
• Last updated : March 16, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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Naruto Live-Action Movie Script Done, Will Focus on 'How Nuanced and Special Naruto Is'

The film is still in its early stages and has no release date..

Destin Daniel Cretton’s live-action Naruto movie now has a finished script and will tell a “nuanced and special” story about the Hidden Leaf Village’s yellow-haired ninja in training.

Our latest update on the adaptation of one of the biggest anime of all time comes from an interview Entertainment Weekly conducted with writer Tasha Huo. She says that her “script is done” and has been passed to Cretton, who is writing and directing the project. A completed script means the Naruto movie has reached a major milestone, and Huo says she’s optimistic about its direction. She trusts the director, saying that his “very personal and relatable” style is one element of his films she enjoys.

Huo adds that she feels the director, who is best known for helming Marvel’s Shang-Chi and the Legend of the Ten Rings and 2019’s Just Mercy, will take Naruto’s story in a direction that avoids the franchise’s already large world.

“I think that’s such a cool choice because he’s going to be able to capture how nuanced and special Naruto is without getting distracted by the big world that it is, which I think could easily be done by someone who’s not a fan or someone who’s coming in for a cash payday," she says. "This is definitely a movie that comes at it from a love of who Naruto is and that character and his relationships."

Naruto had humble beginnings, starting as a manga series by Masashi Kishimoto in 1999. Its popularity has ballooned since then, as the series has gone on to not only receive its anime adaptation of the same name but sequel shows like Naruto: Shippuden and Baruto, too. It’s also spawned a number of video games such as the Ultimate Ninja Storm series, too. Even with so much content to pull from, Huo teases a narrative that may stick closer to Naruto’s roots.

Cretton was confirmed to have joined the live-action Naruto movie earlier this year. The franchise is considered one of the Big Three in the world of anime , meaning expectations for a film adaptation were high the moment it got off the ground. Kishimoto did at least give his blessing to see the Shang-Chi director bring Naruto to the big screen, going as far as to release a statement on the matter when the filmmaker’s involvement was revealed.

“When I heard of Destin’s attachment, it happened to be right after watching a blockbuster action film of his, and I thought he would be the perfect director for NARUTO,” Kishimoto said at the time. “After enjoying his other films and understanding that his forte is in creating solid dramas about people, I became convinced that there is no other director for NARUTO. In actually meeting Destin, I also found him to be an open-minded director who was willing to embrace my input, and felt strongly that we would be able to cooperate together in the production process. To put it simply, the live-action NARUTO is bound to be a film with spectacular action and profound drama. I can’t help but be excited for it.”

Best New Anime to Watch (Summer Season 2024)

The Naruto movie currently has no release date. While we wait for more news, you can see how to catch up on the series with our watch order guide . You can also read about a recent crossover comic run that will see the talkative ninja meeting up with the Teenage Mutant Ninja Turtles .

Michael Cripe is a freelance contributor with IGN. He started writing in the industry in 2017 and is best known for his work at outlets such as The Pitch, The Escapist, OnlySP, and Gameranx.

Be sure to give him a follow on Twitter @MikeCripe.

In This Article

Where to Watch

Not yet available for streaming.

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The new film adaptation of "The Crow" is walking a tightrope -- paying homage to the source material and a beloved past iteration all while being its own thing.

In the movie, now in theaters, Bill Skarsgård plays Eric Draven -- a man who is resurrected after he and his fiancee Shelly ( FKA twigs ) are murdered and sets out on a revenge mission as the titular figure, The Crow, in the hopes of resurrecting Shelly.

See Bill Skarsgård, FKA twigs in 'The Crow' remake trailer

Skarsgård told "Good Morning America" at the film's New York City premiere that he's "a huge fan" of the 1989 comic book series from James O'Barr, and Alex Proyas' 1994 film starring Brandon Lee, and thought the new version "was an apt challenge to undertake."

Lee died tragically at the age of 28 in 1993 after being fatally shot on the set of "The Crow" by a prop gun.

He called Lee's career-defining portrayal of Draven "undeniably iconic," noting that his goal was to make his interpretation of the character "as truthful and as real as I can."

"I'm trying to do this version of it and this movie as much justice as I can," he added.

Rupert Sanders, the new film's director, told "GMA" he loves "the dark, emotional, Gothic love story" at the heart of "The Crow."

"I think, as an artist, you're always looking for material that resonates with you," he said. "We all go through loss, we all go through grief, we all go through love."

Calling it a "universal story," the filmmaker said it's "a mythical fable, in a way, as much as it is a comic book movie."

As for what made Skarsgård and FKA twigs the perfect Eric and Shelly, he noted their "naturalistic" approach to acting and their unique vibes as why he cast them.

"Bill has this incredible empathy, but also is quite terrifying when he wants to be," he said of the "IT" actor.

"Twigs is kind of a magical, otherworldly being," Sanders continued of the "Two Weeks" singer. "And there's something about this film where, unless you really love them as much as they love each other, you won't go on that journey. I think for the audience to lose Twigs halfway through the movie, we feel the loss that [Skarsgård's Eric] feels, so that we'll go on that violent mission with him."

He added, "That was really important. I didn't want to make just a nihilistic revenge movie, I wanted there to be a sense of hope and magic to the movie."

FKA twigs told "GMA" her connection to Skarsgård "very natural," explaining that it was a "blessing" the majority of the movie was shot in sequence so their chemistry could grow organically.

"So as Bill and I got to know each other and became more comfortable, the scenes in the movie grew, and Eric and Shelley's love grew for each other," she said. "So I think you can see in the film that we become more comfortable with each other in our body language and the way we touched and the way that we communicated with each other."

"I know that doesn't happen every time," FKA twigs continued, "but you're kind of just seeing two people that are fond of each other getting to know each other kind of platonically outside of set as well as in love on set through the characters."

"The Crow" is now in theaters.

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They Finally Made The Crow for Goth Incompetents

I can’t say for sure that the doomed lovers in the new The Crow were modeled after Machine Gun Kelly and Megan Fox. But once it occurred to me, the comparison became impossible to shake, because the only better way to sum up the film’s sweaty approach to contemporize its story is the fact that its villain is trying to avoid being canceled. Its hero, Eric Draven, as played by Bill Skarsgård, has the silhouette of a Soundcloud scarecrow, crowned with a Bushwick mullet and inked with tattoos — including a cursive “Lullaby” over an eyebrow — that scream “poor decision-making” as much as they do “emotional rebellion.” Meanwhile, Shelly (FKA Twigs) is pitched as a princess with a dark streak, all elf locks, slip dresses, and sheer layers, a girl who was raised in wealth and trained as a pianist but turned to partying thanks to toxic parenting. The Eric of James O’Barr’s 1989 comic was modeled after Iggy Pop and Bauhaus’s Peter Murphy. An emo-rap update feels right for a movie adamantly branded as not a remake or reboot but a reimagining of the original source material.

The Crow isn’t untouchable — it’s spawned way too many sequels, not to mention a short-lived TV show, for that. But O’Barr’s work and Alex Proyas’s 1994 film adaptation were accompanied by real tragedies — the death of O’Barr’s fiancée in an accident involving a drunk driver and the death of star Brandon Lee in an on-set accident — that gave added ballast to their tormented depictions of a grief-stricken man rising from the grave to seek closure in violent retribution. This new Crow , messily directed by Ghost in the Shell ’s Rupert Sanders, with a screenplay by Zach Baylin and William Schneider, feels so lightweight in comparison that it’s almost endearing. Its two beautiful dummies meet in rehab, where they endure the indignity of being made to wear pink sweatsuits and fall in love during group-therapy exercises. Eric imagines Shelly topless in the sketches he pins to his wall, while Shelly is irresistibly drawn to the way Eric sits by himself, declaring him “quite brilliantly broken.” Skarsgård and Twigs have a total absence of chemistry, and while she’s adequate in what’s still basically a dead-wife role, he’s shockingly inert for someone with a career built almost entirely on characters at the intersection of creepy and hottie.

The film may insist that Eric and Shelly’s is a grand romance of soul mates, but what it actually gives us is a burnout-detention boyfriend/rebellious-cheerleader girlfriend dynamic that doesn’t feel like it would last a long weekend. Fittingly, when Eric rises from the grave after he and Shelly are murdered by henchmen on the orders of evil bigwig Vincent Roeg (Danny Huston), he proves pretty inept at undead vengeance. It’s not just that he’s not much of a fighter — that doesn’t matter when your body regenerates thanks to powers granted by a mystical crow from the afterlife. He’s also exasperatingly slow to accept what’s happened to him, he untangles the bad business Shelly was involved in only really by accident, and he doesn’t even put on a trench coat until the final act. The way that Eric fumbles his way toward retribution is right on the verge of funny — at one point, he gets run over by a truck — but The Crow can’t bring itself to display a sense of humor. Instead, it makes up for its hero’s initial bumbling by raising its gore quotient later on.

It’s a lot to ask, following in the footsteps of a subculture mainstay. If there were any sense of intentionality behind this new Crow , I’d say it’s trying to provide representation for the Incompetent Goths out there — the IncompeGoths who get an illegible stick-and-poke on their cheekbone, who are indifferent to how goofy their single dangly earring looks, and who keep getting sent back to mystical purgatory to be lectured by a supernatural mentor that IMDb assures me has a name, Kronos (Sami Bouajila). But this film isn’t coherent enough for that. Its baddie, Vincent, is an immortal arts patron of sorts who made a deal with the devil but spends the movie trying to track down a cell-phone video he’s worried will get him in trouble. It takes place in an apparently American city where almost every resident has a different international accent. Shelly is desperately on the run from a man with enormous power, reach, and demonic connections, and the first thing she and Eric do when they escape from rehab is go back to her luxury apartment, with its chubby furniture, and get trashed together.

Look, deep thoughts and deeply held emotions aren’t for everyone, and there’s something blissfully empty-headed about the scene in which Shelly, posing with a book at an Instagram-ready picnic with some random friends, informs Eric that she’s reading Rimbaud. If only The Crow were a little more self-aware, it could be a cult classic in its own right — though probably not the kind its makers were hoping for.

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The Best Live-Action Snow White Movies, Ranked

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With the Box Office success of the live-action remakes of iconic Disney animated films like The Little Mermaid , it was only a matter of time before the first Disney princess, Snow White, was given the live-action treatment. 1937's Snow White and the Seven Dwarfs was a massive moment in cinema history, being the first feature-length animated film. The Snow White remake is set to release on March 25, 2025, starring Rachel Zegler and Gal Gadot.

However, Disney's live-action remake is not the first attempt at a live-action adaptation of the Snow White story. Throughout the last few decades, there have been several live-action interpretations . While some of these films followed the basic aspects of the Disney story, many of them interpreted the story differently, either taking inspiration from the Brothers Grimm fairy tale or adding their own interpretations to fit with the time in which it was made.

7 Grimm's Snow White Had Deep Lore

The low budget didn't serve the complex backstory.

2012 saw three live-action Snow White films. The least popular and well-known was Grimm's Snow White , directed by Rachel Lee Goldenberg and produced by The Asylum. Unlike Snow White and the Huntsmen and Mirror Mirror , Grimm's Snow White was a straight-to-video production. The film starred Eliza Bennet as Snow White and Jane March as the evil Queen Gwendolyn. As the title suggests, the story was based on the Brothers Grimm fairy tale, though several changes were made.

The film has a much more complex backstory involving a war between humans and elves, with the elves taking over the role of the dwarfs in this version of the story. Being released at the same time as Snow White and the Huntsmen , Grimm's Snow White sees Snow in a similarly active role, killing the Queen herself in the final battle. Despite the epic story, the small budget really worked against it, with the CGI being distractingly poor. One interesting aspect of this film, however, is the replacement of the poison apple with a cursed ring.

6 Snow White and the Three Stooges Was a Comedic Take

The comedy trio replaced the dwarfs.

Snow White and the Three Stooges (titled Snow White and the Three Clowns for the UK release) is naturally a more comedic take on the Snow White story. In this version of the tale, Snow White stumbles upon the Three Stooges ( Moe Howard, Larry Fine and "Curly Joe" DeRita) instead of the seven dwarfs . This film was released during the Stooges' resurgence, being the second feature film to include this version of the comedy trio.

The film starred Carol Heiss as Snow White, though it is clear that the Stooges were the main draw of the film. Being a comedy, the film doesn't take the story too seriously, with the Stooges being introduced as house-sitting for the dwarfs. The film had a low audience reception despite its relatively high budget, with many disappointed that the Stooges weren't given as much screen time and focus as the title would suggest.

5 Snow White: The Fairest of Them All (2001) Was a Mostly Typical Retelling

The film featured underwhelming performances.

10 Best Characters In Live-Action Disney Remakes

The Disney live-action remakes have continued to reimagine many iconic characters, and some have been improved upon since their original appearances.

Snow White: The Fairest of Them All was a theatrically released film in Europe, before airing in the US on ABC. The film had a low budget, and unfortunately, it showed. The movie makes several changes to the Snow White story, with Snow White's father becoming the King after setting free a being known as the Green-Eyed One, who grants wishes. The Queen in this version is the sister of the Green-Eyed One, played perfectly by Miranda Richardson. However, her stellar performance only highlights the poor performances of her cast mates , particularly Kristin Kreuk's Snow White, who received much criticism for her underwhelming performance.

While the story serves as a generic retelling of Snow White , a lot of changes were made to differentiate the film. The dwarfs in this version are named after the days of the week, with Sunday as the leader. They are able to transform into a rainbow, which is an interesting change, though it ultimately didn't affect the plot much. The film has also been critiqued for its bad pacing, with the story lacking any drama or action until the climax.

4 Sydney White (2007) Set Snow White in the Modern Day

The film set the story at an american college campus.

With the significant success of A Cinderella Story (2004), which followed the Cinderella tale in a modern setting, Sydney White took the same approach, with a Snow White story set in college. The film starred Amanda Bynes as Sydney, who gets into a feud with the Student Body President, Rachel, who plays the role of the Evil Queen. The film does a good job of modernizing the story, with the dwarfs being replaced by a fraternity house of nerdy outcasts and the poisoned apple being replaced with a computer virus of the same name.

In this version of the story, the Evil Queen's jealousy of Snow White comes in the form of the school's "Hot or Not List," with Rachel at #1, becoming more and more obsessed with destroying Sydney as her popularity threatens her position on the list. When the virus deletes all of Sydney's plans for the Student Council election, she stays up all night to redo them, which is the reason she falls into a deep sleep. The film is certainly a product of its time, feeling a lot like the many high school/college movies of the early to mid-2000s.

3 Snow White: a Tale of Terror (1997) Was a Dark Take on the Story

The film gave depth to the evil queen.

10 Disney Princesses Who Deserved a Better Happily Ever After, Ranked

While "Happily Ever After" is a staple of Disney's princesses, some of the best princesses of all time deserved much better.

Given the dark nature of many Brothers Grimm fairy takes, Snow White: a Tale of Terror does a good job at portraying the darker tone of the Snow White story. The Gothic fantasy film premiered on Showtime, but unlike other made-for-TV Snow White films, it uses its limited budget well. The story provides an interesting dynamic between Snow White and the evil Queen (played by Sigourney Weaver), with the Queen genuinely trying to befriend Snow, who constantly rejects her attempts. When Snow grows up, she is portrayed as selfish and vain, showing up at a ball honoring the Queen's pregnancy in her deceased mother's dress, which draws all the guests' attention onto her.

The stress of the situation causes the Queen to go into early labor, having a stillborn birth. The decision to change the evil Queen's motivation is refreshing, with her seeking revenge on Snow White out of grief for her lost baby. Other changes include Snow having a romantic dynamic with Will, the leader of the miners, who wakes her from her sleep by shaking the apple piece out of her throat, rather than kissing her.

Snow White: A Tale of Terror

In this dark take on the fairy tale, the growing hatred of a noblewoman, secretly a practitioner of the dark arts, for her stepdaughter, and the witch's horrifying attempts to kill her.

2 Mirror Mirror (2012) Was a Campy Film

The film's production design set it apart.

While Mirror Mirror was a Box Office and critical disappointment, the film has received more love with age . The film follows Emily in Paris star Lily Collins as Snow White, and Julia Roberts as the evil Queen. The film portrayed the dwarfs as bandits, and when Snow joins them, she helps them steal from the rich, which gave her a great character arc, going from a shy princess to a fierce fighter.

What really made Mirror Mirror stand out compared to previous live-action Snow White films was its production design. The film is very campy, with over-the-top theatrical set designs and costuming. The production design took inspiration from various cultures, with the palace towers resembling the Taj Mahal in India, while the costuming takes inspiration from Western European fashion from the 16th to 19th century. While this mixture of inspirations might be jarring at first, they blend together surprisingly well to create a unique fantasy world.

Mirror Mirror

Mirror Mirror is a new adaptation of the original Brothers Grimm tale Snow White that stars Lilly Collins and Julia Roberts as Snow White and the enchantress Clementianna. When Snow White's father goes missing,  her stepmother assumes control of the kingdom, hiding Snow White away from the world, and jealously banishes her into the nearby woods. As time passes, Snow White, with the help of the dwarves that helped raise her, decides to fight back and reclaim her kingdom from her cruel stepmother.

1 Snow White and the Huntsman (2012) Was a Dark, Gritty Remake

The film featured a star-studded cast.

Snow White and the Huntsman had mixed reviews upon its release. However, given its star-studded cast, production value, and changes to the story, it's certainly a great, albeit different, take on the Snow White tale. The film starred Kristen Stewart as Snow White, Chris Hemsworth as Eric the Huntsman, and Charlize Theron as the evil Queen Ravenna, whose performance is a highlight of the film. The film is a much darker, gritty take on the story, and while this may seem overdone by today's standards, the idea of remaking a fairy tale princess story in this direction was an interesting concept in 2012.

In terms of changes, the Queen's magic mirror tells her that Snow White is destined to destroy her, rather than basing her motivation around jealousy of appearance. When Snow is poisoned, Prince William kisses her, but she does not wake, only waking when the Huntsman kisses her. Of all the live-action Snow White films, this was the only film successful enough to have garnered a sequel, The Huntsman: Winter's War . The film also received Oscar nominations for its visual effects.

Snow White and the Huntsman

In a twist to the fairy tale, the Huntsman ordered to take Snow White into the woods to be killed winds up becoming her protector and mentor in a quest to vanquish the Evil Queen.

Screen Rant

10 best batman moments you’ve missed out on if you only watch the live-action movies.

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10 Batman Movie Scenes Ripped Straight From DC Comics

10 best animated batman suits that put live-action dc to shame, "the best of us": batman already named the 1 hero who truly inspires him (& it's not superman).

• Animated Batman movies & series showcase vital Batman scenes not seen in live-action adaptations.
• Batman's poignant moments with Ace and the Macaroni persona highlight his depth & compassion.
• Key Batman storylines like Jason Todd's fate, Nightwing's evolution, and Barbara Gordon's transformation are expertly depicted in animated adaptations.

While Batman has been a pop culture icon for decades, many of his most defining moments are found not in DC ’s live-action movies. Batman is a hefty franchise in the DCU timeline , with a swathe of live-action Batman movies produced since 1943. While many of these have captured the essence of Batman’s history and battle against Gotham’s criminal underbelly, some of the most vital Batman scenes have only been adapted to animation.

DC has released dozens of animated Batman movies , with a slew of adjacent Justice League movies that the Caped Crusader starred in. These have all been widely lauded, often garnering reviews that rival the very best DC movies made in live-action. Meanwhile, many animated Batman series have become iconic entrants in the franchise, boasting some of the most celebrated and memorable performances. Through these, DC has depicted some of the most thrilling Batman moments ever that have not appeared in live-action.

Though most Batman movies deviated from the source material slightly, they frequently adapted scenes straight from the pages of DC Comics.

10 Ace's Final Moments With Batman

Justice league unlimited season 2, episode 13 "epilogue".

One of Batman's most poignant moments occurs in the Justice League Unlimited episode titled "Epilogue." The episode centers on Ace, a powerful teenage meta-human who was experimented on by the villainous Cadmus project. Due to these experiments, Ace develops psychic powers that allow her to warp reality. However, this power also came with a terrible cost : Ace was dying.

Batman is sent to kill Ace but instead decides to comfort the girl. He sits beside her on a swing, holding her hand as she accepts her fate. Ace speaks about her traumatic childhood, while Batman, despite the threat she poses, sees her as a child. The scene is startlingly beautiful and heart-wrenching, producing one of the most compelling Batman scenes ever . It shows how Bruce Wayne has a tender and deeply compassionate streak beneath the cowl.

Justice League Unlimited

Not available

Justice League Unlimited is the culmination of the DC Animated Universe, reuniting characters introduced in previous shows such as Superman, Batman, and Wonder Woman and introducing new JLA members like Green Arrow, Black Canary, and Booster Gold. The series' three seasons aired from 2004 to 2006.

9 Bruce Wayne Begs His Parents To Let Him Quit Being Batman

Batman: mask of the phantasm.

Batman: Mask of the Phantasm is one of the most critically acclaimed animated Batman films. In it, audiences witness a moment of vulnerability rarely seen in Batman . Bruce Wayne, tormented by the loss of his parents and the vow he made to them, finds himself at a crossroads when he meets Andrea Beaumont, a woman who brings him happiness and a sense of normalcy.

Bruce visits his parents' grave, torn between his promise to fight crime and his desire for a normal life with Andrea. He kneels before their gravestones and, with tears in his eyes, begs them to release him from his vow. He confesses that he didn’t count on being happy , that he never expected to find love or a future that wasn’t drenched in vengeance. The scene proffers a rare glimpse at Bruce Wayne’s internal struggle and a rare instance where he questions his destiny.

Batman: Mask of the Phantasm

Batman: Mask of the Phantasm is the first movie in Bruce Timm, Eric Radomski, and Paul Dini's DC Animated Universe, serving as a prequel to Batman: The Animated Series. It pits the Dark Knight against a mysterious vigilante known as the Phantasm, who forces Bruce Wayne to confront his crime-fighting crusade and his traumatic past. Iconic DC voice actors Kevin Conroy and Mark Hamill return as Batman and Joker, respectively.

8 "I Am The Night, I Am Vengeance - I Am Batman!"

Batman: the animated series season 1, episode 10 "nothing to fear".

The line "I am vengeance, I am the night, I am Batman!" has become one of the most iconic quotes associated with the Dark Knight . It appears in Batman: The Animated Series episode "Nothing to Fear." In this episode, Batman faces off against the Scarecrow, who uses his fear toxin to force Batman to confront his deepest insecurities and fears.

Under the influence of the toxin, Bruce is haunted by visions of his father expressing disappointment in him, calling him a failure. This psychological attack nearly breaks Batman, but in a moment of sheer determination , he fights back. As the fear begins to consume him, Batman pushes through, declaring, "I am vengeance, I am the night, I am Batman!" The statement is more than just a declaration; it's a reaffirmation of his identity and purpose.

Batman: The Animated Series

Batman: The Animated Series is an award-winning adaptation of the Batman mythos. Remembered for its groundbreaking art style and orchestrated soundtrack, Batman: The Animated Series features the Caped Crusader and countless characters from his rogues' gallery. Kevin Conroy lent his now-iconic voice to the Dark Knight, with the show also featuring the voice talents of Mark Hamill (as the Joker) Arleen Sorkin (Harley Quinn), John Glover (the Riddler), Ron Perlman (Clayface), and David Warner (Ra's al Ghul).

7 The Flashpoint Universe's Thomas And Martha Wayne

Justice league: flashpoint paradox.

Justice League: The Flashpoint Paradox , based on the comic story of the same name, depicts an alternate universe where Bruce Wayne was the one killed in that fateful alley, leading to a drastically different Batman - his father, Thomas Wayne. In this reality, Thomas becomes a grimmer and more brutal Batman, driven by the loss of his son, while Martha Wayne succumbs to madness, becoming this universe's Joker. The tragedy of this alternate reality is staggering.

Thomas Wayne's Batman is a man who has lost everything and is consumed by vengeance and grief. Unlike Bruce, who channels his pain into a strict moral code, Thomas is willing to kill, making him a far more dangerous figure. Martha's Joker symbolizes the utter destruction of the Wayne family by crime and madness. These alternate versions of Batman’s parents appear in Justice League: The Flashpoint Paradox but are yet to appear in live-action.

Justice League: The Flashpoint Paradox (2013)

Justice League: The Flashpoint Paradox revolves around Barry Allen, known as The Flash, who inadvertently creates an alternate timeline after going back in time to prevent his mother's murder. Directed by Jay Oliva, the film features an altered reality where the Justice League is replaced by conflicting heroes and villains, with cataclysmic consequences. This animated feature showcases the complexities and ramifications of time travel within the DC Universe.

6 Alfred Becomes The Macaroni

Harley quinn.

The animated series Harley Quinn offers a more humorous and irreverent take on the DC universe . One especially memorable moment involves Alfred Pennyworth, Batman's loyal butler. In a hilarious twist, Alfred takes on the persona of "The Macaroni," a vigilante who protects Gotham City while Batman is recovering from his injuries.

Dressed in an elaborate 18th-century outfit complete with a powdered wig, The Macaroni is a perfect blend of Alfred’s refined persona and his hidden talents. While the concept is played for laughs, it’s also a nod to Alfred’s often-overlooked abilities and his unwavering dedication to Bruce. The Macaroni might be a comedic alter ego, but it’s a reminder that Alfred is more than just a butler - he’s a key part of Batman’s mission. Even in a parody, Alfred is a stalwart ally.

5 Jason Todd's Death And Return

Batman: under the red hood.

One of the most emotionally charged storylines in Batman's history is the death and subsequent resurrection of Jason Todd, the second Robin. Originally told in the respected comic book story “A Death in the Family,” Jason Todd is beaten to death with a crowbar and left to die in an explosion by Joker. Jason’s death haunts Batman, fueling his guilt and reinforcing his rule against killing . Later, Jason resurfaces as the villain Red Hood, where he is scarred, bitter, and consumed by vengeance.

Batman: Under the Red Hood brought this story to life, while it has only ever been alluded to in live-action . Jason Todd’s death was hinted at in Batman v Superman: Dawn of Justice with Robin’s defaced uniform hanging in the Batcave. The confrontation between Batman and Jason is heartbreaking and could make a highly compelling live-action movie.

Batman: Under the Red Hood

A mysterious vigilante called the Red Hood shows up in Gotham City, implementing one method that Batman does not: the Red Hood kills his targets. Batman and Nightwing are hot on the Red Hood's trail, but Batman makes a surprising revelation about the vigilante's identity.

4 The Laughing Fish

Batman: the animated series season 1, episode 46 "the laughing fish".

"The Laughing Fish" is an episode from Batman: The Animated Series that perfectly captures the macabre humor and sinister genius of the Joker . Based on several Joker stories from DC Comics, Mark Hamill's Joker embarks on a bizarre scheme to trademark fish that bear his gruesome grin, a result of him poisoning Gotham’s waters. When the authorities refuse to grant him the copyright, the Joker escalates his plan, leading to a deadly game of cat and mouse with Batman.

What makes this episode stand out is the way it showcases the Joker's twisted logic. He’s not just a villain with a plan; he’s a force of chaos, motivated by a desire to bend the world to his own insane rules . With the numerous live-action Joker adaptations, it is a shame that such a classic and dynamic scheme has not been depicted outside of animation.

3 Robin Becomes Nightwing

The new batman adventures season 2, episode 5 "old wounds".

One of the most significant developments in Batman lore is Dick Grayson’s evolution from Robin into Nightwing, a transformation that is poignantly depicted in The New Batman Adventures . In the episode "Old Wounds," we see flashbacks that explain the rift between Dick and Bruce , which ultimately leads to Dick abandoning the Robin mantle. The episode explores the growing tension between Dick and Bruce, as Dick becomes increasingly frustrated with Bruce’s authoritarian approach to crime-fighting.

This culminates in a heated confrontation, where Dick renounces his role as Robin, feeling that Bruce has become too controlling and unyielding. This storyline is crucial because it highlights the complexities of the mentor-mentee relationship between Batman and Robin. It’s a story of growth, independence, and the inevitable conflict that arises when the student surpasses the teacher. While Nightwing has been depicted in Titans , he has not appeared in live-action movies.

Batman’s iconic suit has changed a lot throughout his many appearances in animated DC projects, and often with varying degrees of success.

2 Batgirl Becomes Oracle

Batman: the killing joke.

The Killing Joke is one of the most controversial and influential stories in the Batman universe. The highly revered narrative is known primarily for its treatment of Barbara Gordon, a.k.a. Batgirl. In the story, the Joker shoots Barbara, paralyzing her from the waist down. This traumatic event marks the end of her career as Batgirl but also the beginning of her new role as Oracle.

Barbara’s transformation into Oracle is a significant development in Batman lore. Refusing to be sidelined, Barbara reinvents herself as Oracle, using her intelligence, hacking skills, and vast knowledge to become an invaluable ally to Batman and the entire superhero community. The story was adapted in the animated movie Batman: The Killing Joke , which explored the tragic and iconic narrative. The harrowing Joker scene and the heartbreaking consequences of Joker’s attack are incredibly compelling and are landmark Batman moments.

Batman the Killing Joke

Based on one of the best-selling graphic novels of all time, Batman: The Killing Joke follows Batman as he hunts for the Arkham fugitive Clown Prince of Crime himself, the Joker. When the Joker attacks the Gordon family to prove a diabolical point, the stakes become personal for the Caped Crusader. This story explores the depths of the madness of the Joker's mind and how far he's willing to go to prove that all human beings can change their morals if pushed enough.

1 The Killing Joke

The final scene of The Killing Joke is one of the most enigmatic and debated moments in Batman history. After a harrowing story that delves into the twisted relationship between Batman and the Joker, the graphic novel ends with the two characters sharing a moment of bizarre laughter . In the climax, the Joker tells Batman a joke about two inmates trying to escape an asylum. The joke, the meaning of which remains a mystery, prompts laughter from the Dark Knight.

This was adapted perfectly in Batman: The Killing Joke . The animated movie ends with the image of Batman and Joker laughing together, which is especially unsettling considering Joker’s heinous crimes throughout. Like the comic, the movie ends ambiguously, with the laughter fading out and the camera panning down to the rain-soaked ground. The scene has become one of the most iconic and hotly debated Batman moments, which has never been adapted into live-action.

Upcoming DC Movie Releases

Joker: folie a deux, superman (2025), supergirl: woman of tomorrow, the batman part ii.