The classic fairy tales were cobbled together from centuries of accumulated cultural DNA: Oral tradition, local legends, moral fables, cautionary tales. “Snow White and the Huntsman” just feels like it was made from the pieces of every fantasy-action movie ever made.

That doesn’t have to be a bad thing. Parts of the film — the second “Snow White” revamp this year and easily the superior of “Mirror Mirror” — are very nearly wonderful. Others are of a surpassing silliness. They come at you willy-nilly, so if you don’t like one bit, just wait a while. A sequence in an enchanted faerie glade perches delightfully on the edge of camp, with eerie pixies crossing paths with live-action Disney bunnies. Later, when a medieval army pulls up in front of a majestic seacoast castle, some of us will be waiting in vain for the police cars from “Monty Python and the Holy Grail” to appear.

And so it goes. “Snow White and the Huntsman” is a re-engineering of the well-known story to fit the dimensions and demands of today’s multiplex screens. Kristen Stewart plays the heroine as a distressed fugitive who discovers her inner Joan of Arc; like Bella in “Twilight” — and because that franchise has made the one-girl/two-guy triangle inescapable in pop culture — Snow has two hunks in her corner, the virile Huntsman (Chris Hemsworth, carrying an axe instead of Thor’s hammer) and the stalwart Prince William (Sam Claflin). No, not that Prince William.

As Ravenna — you know her as the evil stepmother, although her marriage to Snow White’s father (Noah Huntley) is extremely brief — Charlize Theron gives a performance that fuses astonishing costumes (from multi-Oscar winner Colleen Atwood), alarming special effects, and overacting of a degree rarely seen these days. Theron can be an actress of wit and even subtlety, but it’s hard to bring nuance to a role that requires you to bellow “YOU CANNOT DEFEAT ME!” a few scenes after emerging from an oil slick covered in crows.