Sucker Punch: Mundo surreal

I'm already giggling picturing the cries of protest that will rise up when I post this review, but the hell with it, I really like Zach Snyder's Sucker Punch. I never deliberately play the contrarian, I just seem to often gravitate towards films that have been maligned by the masses, and I can't really help it. Now, in this film's case, a few of the many and varied negative criticisms are somewhat warranted, yet blown out of proportion when you really take a good look at the story. The film is pure style, and although Zachary might have let his imagination run a little wild and clutter the whole affair with fanboy fantasies and video game visuals, there is a clear and discernible story beneath if one cares to look. Now, the only way that story is entirely comprehended is by watching the extended director's cut, which includes an absolutely crucial, pivotal scene that's should have never, ever ended up on the editing room floor for the theatrical version. Seriously, they we're straight up asking for hostility and confusion by not keeping it in every cut of the film, it's just common sense. Speaking of story, here we go: the film opens in breathless style and classic patented Snyder slo mo, with young Baby Doll (Emily Browning) trying to save her little sister from their tyrannically abusive stepfather. Outsmarted and shipped off to an austere mental institution, her journey is a sad, surreal and somewhat befuddling one, but there's a method to the madness that might not be clear with only one viewing of the film. The asylum she is sent to is plagued by a sinister orderly (Oscar Isaac) who is abusing the girls in his care, and as a result, Baby Doll channels such horrors into a grandiose set of fantasy worlds, the base of which rests on a burlesque style brothel where she and others work for volatile pimp Blue (also Isaac). Joined by Amber (Jamie Chung), Sweet Pea (Abbie Cornish), Rocket (Jena Malone) and Blondie (Vanessa Hudgens), she blocks out the reality of what is happening and replaces the details of an elaborate, systematic escape attempt with impossibly epic, highly stylized adventures, each of a different theme or set in a vaguely familiar period of history. Battling medieval dragons, giant samurai golems with mini-guns, WWI zombie hordes in a gaunt, bombed out European landscape, it's all a detailed rush of sound and fury that hits you like a ton of bricks, and although is far too much for the film to handle and still get its point across, it's completely dazzling stuff, especially on Blu ray. Guided by a mysterious Wise Man (a kickass, rootin tootin Scott Glenn) who shows up in a different get up each time and mentored by brothel Madam of sorts Vera Gorski (Carla Gugino), each setting holds the key to move along a certain cog in their plan, correlating back down the line of delusions straight to the asylum, if a little tenuously. Now it all hinges on the arrival of the High Roller (Jon Hamm), a rich playboy who has come to the brothel to see Baby Doll dance, and probably more. Here's where they messed up royally: The scene I mentioned earlier is a monologue from him that is pretty much one of the most important parts of the film, capping off both realities beautifully, and without it, not only is Hamm relegated to basically a walk on extra, the entire final punch of the climax is rendered lost and neutered, not too mention quite uncomfortable in a sense. Whoever was in charge of that particular piece of the editing should be tarred, feathered and run off the studio lot by teamsters. With the scene left in on the extended version, however, the story is given both point and purpose, feeling like a complete vision with a little weight to go along with it's Hindenburg sized bag of visual tricks. Not Snyder's best for sure, but it's in no way close to the turkey some people will have you believe it is. Whiners. Style over substance? Yes, I'll definitely concede there's an imbalance, but don't try and tell me the whole thing is bereft of substance at all, because that is a lazily researched argument. The soundtrack is a treasure chest, I might add, with beautiful covers of Sweet Dreams and Sing Me To Sleep sung by Browning herself.

I've loved this film since its first run in theaters. Largely panned by critics and somewhat of a box office bomb, this film has been misunderstood from day one.

At face value, its t*ts and *ss and violence. I suppose the majority of viewers either loved it or despised it at that level. No doubt, knee jerk feminists were loud and strident haters. Seeing it as exploitation. I believe there is more nuance to 'Sucker Punch'.

It's more of a comment on how girls and young women are manipulated sexually and emotionally. You have to look a bit deeper past the in-your-face sex and violence. Most viewers won't invest themselves enough to see past this which is a bit sad.

Aussie actresses' Emma Browning and Abbie Cornish are exceptional as is Jena Malone. The rest of the cast is adequate.

The dream sequences are sublime, and the soundtrack is simply outstanding. These are some of the greatest songs sever recorded. I would rate this as one of the best soundtracks of the last 20 years.

I originally wrote a review the day after I saw Sucker Punch. I panned it. To me my initial feelings were rather lukewarm at best.

But then I gave it some time.

And as I went through my days afterward my mind would wander back to the story and think about the visual food for thought.

Yeah, the girls are hot. Yeah, the action is over the top, but if you look at the emotional landscape that is being explored in a more literal fashion via the action then yeah, this is a pretty cool idea.

Sometimes films come along that are a "sucker punch" in terms of originality. The general public usually reacts negatively to it which leads to poor box office results. But later on the audience has had a chance to digest what was given and revisits the film and breaths new life into it.

My prediction is that such a situation will happen with Sucker Punch. It'll probably not recoup its initial budget at the box office. People will flood the IMDb forum with reasons why it did not work. We will probably see about a few dozen threads at least where people will vent their reasons why they hate the film and why you too should not see it.

But given some time it will recoup via video sales and other distribution deals.

Why?

Because it's still a solid story. The style of the movie is an Otaku's wet dream, but overall result is still the same: it does surprise and give ample food for thought.

Think of it as stylized parable about repression, personal will and sacrifice. Because sooner or later after all the negative backlash and reviews blow by those emotional messages will be all that will be left.

And people will remember it for that reason.

I avoided this film like the plague when it was in theaters, having heard nothing but the worst reviews imaginable. Hardly anyone had anything nice to say about it, and usually that is a pretty good indicator a film is bad. I mean, one or two bad reviews can usually be brushed off. Even a 50/50 split amongst critics can sometimes indicate a good, but misunderstood film. But when a movie is universally panned, it's a safe bet that you're not missing anything by skipping it.

Wow, were they wrong here. I decided to catch Sucker Punch on HBO now that it's available, and I'm very glad I did. It's definitely not a perfect movie, but it's also nowhere near as bad as we've all been led to believe.

It's got a few moments that don't really work, and I could have done entirely without the narration at the end, but other than that, it's a terrific, beautifully stylized action fantasy, filled with imaginative villains, lush graphics, pretty girls and a uniquely offbeat storyline.

I simply don't understand where all the hate came from here. Yeah, it generally portrays a male adolescent fantasy of hot girls in skimpy outfits. Big freaking deal. There are far more exploitative films out there, few of which inspired the level of vitriol hurled at Sucker Punch. It's a cool fantasy film, with heavy elements of B-movie and classic pulp noir skillfully added for good measure.

How this film can be hated but something like Grindhouse critically beloved is beyond my comprehension. Yes, Grindhouse is better. But not so much better to justify the massive disparity (83% to 23% on Rotten Tomatoes).

And I'm not even a big Zach Snyder fan to begin with. I thought Watchmen was awful, and didn't think very much of 300 either. But I have to give him credit on this one; he was truly robbed this time around.

With its rustic-futuristic visuals, synergistic use of classic rock music, overt sexuality, and dreamlike action sequences, SUCKER PUNCH feels like a live action homage to 1981's HEAVY METAL with a heaping helping of MATRIX folded in for good measure. Excellent, quirky performances from a bevy of skilled young actresses serve to enhance the idiosyncratic nature of this film.

From its atmospheric use of color to its smallest detail (think a snowflake melting on an eyelash), SUCKER PUNCH is a visual feast. The movie sounds great, too. Contemporary versions of songs like "White Rabbit," "Sweet Dreams (Are Made of This)," and "Love is the Drug," to name a few, harmonize well with both the imagery and the unique, fantasy-within-a-dream storyline.

Like many, I'm scraping the bottom of the Netflix quarantine barrel and wasn't expecting much more from this movie than a forgettable distraction. I couldn't possibly have been more pleasantly surprised. SUCKER PUNCH grabbed me from its fourth-wall-busting opening shot and held my attention right to the eyebrow-raising ending. I'll be watching again. Soon.