The aesthetic quality of a movie is always essential. It increases the viewer’s experience overall, and it helps to keep interest going. Beautifully aesthetic movies are a favorite in the film industry, often winning awards for the cinematography that went on during production of the movie. In Director Rupert Sanders’ film “Snow White and the Hunts­man,” the aesthetic quality is magnificent. It is incredibly difficult to look away due to the bright and ostentatious colors that are thrown across the screen. Unfortunately, the aesthetic quality fails to cover up the point­less plot that is strung along for nearly two hours.

‘Huntsman’ begins with the tale of Snow White (Kristen Stewart), who loved her mother very dearly before the older woman was taken from her. Her father, in his grief, agrees to marry a strange and beautiful wom­an from another land named Ravenna (Charl­ize Theron). Ravenna is kind to Snow at first, treating her like a daughter; soon after the wedding, however, it is obvious that Ravenna has other plans for the kingdom when she murders Snow’s father and her new husband, King Magnus (Noah Huntley).

The movie flashes forward fifteen years, and it is revealed that Ravenna has become a tyrant during her time as queen, suppressing the people and refusing to aid in their pov­erty. She has also locked up Snow White in one of the castle’s towers, Ravenna’s brother Finn (Sam Spruell) acting as Snow’s warden. Ravenna herself has not aged a day, due to the fact that she has the ability to suck the souls from young, beautiful girls. Ravenna notices her powers weakening, however, and her mir­ror on the wall tells her it is because of Snow, who is now of age.

In a confusing sequence of events, Snow manages to escape before Ravenna can get her, and eventually winds up with the help of the seven dwarves and the huntsman who was originally supposed to be hunting her (Chris Hemsworth). The reasons and aspirations for what Snow and her companions do, however, have no logic or sense to them. The Huntsman chooses to remain with her for vague reasons, and his romantic ties with her are severed and repaired continuously, so by the end it feels like they have no romantic relationship.

As aforementioned, the aesthetic quality of the movie is breath-taking. But the reasons for these beautiful scenes don’t make any ac­tual sense. A wizard-like character is sud­denly introduced halfway into the movie with no explanation, only to be killed two seconds later and never mentioned again. The dying words of Finn make no sense to anyone, and are never explained. Snow White’s revival is not explained at all either; she is simply placed on a table and left alone.

The worst part of the movie was the dan­gling love triangle that seemed so important earlier on. The writers made it obvious that there was some kind of decision that Snow had to make between the Hunstman and her prince, William (Sam Claflin). In the end, however, it is unclear as to who she chooses exactly, and if she even loved them in the first place. Stewart’s acting in romance ‘Twilight’ has not helped her show any kind of love in this movie.

‘Huntsman’ is in no way a classic retell­ing of the Snow White tale, because the tale actually explained what was going on. It feels like there are pieces missing, and like the hole movie wasn’t actually included upon release. This is a movie that should be seen for its aesthetic beauty, but bring along a pair earplugs just in case.