Mirror Mirror (1990) - Film Review

      Mirror Mirror, 1990.

      Director: Marina Sargenti.

      Cast: Karen Black, Rainbow Harvest, Yvonne De Carlo, and William Sanderson.

      SYNOPSIS:

      A teenage girl gains black magic powers through an antique mirror that drips blood, unaware that it is under the influence of demonic forces. There’s an irresistible charm to rediscovering classic horror, and Mirror Mirror stands as a forgotten piece of early ’90s horror that has quietly garnered a cult following over the years.

      Directed by Marina Sargenti in her debut (and regrettably, only) feature film, it offers a twist on the familiar lonely-teenager-revenge narrative, viewed through a gothic, black-lipstick lens—imagine if Carrie borrowed from Beetlejuice’s wardrobe and took style tips from a goth magazine.

      Megan (Rainbow Harvest), who has recently relocated to a small Iowa town with her heavy-drinking, wig-wearing mother (the delightfully eccentric Karen Black), embodies the kind of outsider that only 1990s horror could conjure up, complete with spiderweb hats and raccoon eyeliner. She is sensitive, artistic, and tragically misinterpreted, making her the ideal conduit for the enigmatic antique mirror that resides in her bedroom. Once the realtor mentions, “we meant to remove it,” you know it’s not leaving anytime soon. This mirror has a past, having likely witnessed (or assisted) in numerous dark acts. It’s only a matter of time until its effect on Megan becomes evident.

      Harvest, exuding a blend of Winona Ryder and Siouxsie Sioux energy, is impressive. She navigates the delicate balance between fragility and threat, particularly as the mirror starts to reflect her innermost desires. Sargenti skillfully merges Megan’s personal sorrow with the supernatural turmoil she unleashes, bestowing upon the horror a psychological depth that resonates just beneath the surface (or should that be, behind the glass). When the mirror enacts violent retribution on her bullies—through shattering glass, bursting steam pipes, and one notably gruesome garbage disposal scene—it’s both thrilling and disconcerting. The line eventually blurs: where does Megan end, and where does the evil begin?

      Visually, the film is captivating. Robert Brinkmann’s cinematography employs low angles and giallo-inspired color palettes that add a surreal theatricality to the more dramatic moments. While some effects may reveal the limitations of the budget, they remain practical, inventive, and intriguingly grotesque. A standout locker-room scene delivers genuine tension while sidestepping the exploitative gaze typical of its peers.

      What truly enhances Mirror Mirror is its focus on female perspectives. The film features a predominantly female cast and deeply explores the relationships among these women. Megan’s fraught friendship with popular girl Nikki (Kristin Dattilo) has a poignant quality, and though the mother-daughter relationship is broadly sketched, it feels genuine in its dysfunction.

      The third act does falter, as the horror logic begins to unravel, and the finale dips into melodrama at the cost of emotional resolution. However, the film’s sincerity is difficult to dismiss.

      Mirror Mirror may not be perfect, but it’s a moody, surprisingly tender exploration of grief, identity, and the frightening power of being seen. It’s a flawed gem well worth examining.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Tom Atkinson – Follow me on Instagram