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.

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.

Seriously, the MPAA overstepping constantly, but to cut an entire 7 minute scene that contextualizes the entire film and drives home the really heartbreaking reality and them that this movie portrays is an egregious oversight. This is absolutely an underrated movie and what Snyder accomplished is brilliant. Reverting the male gaze back on the viewer and forcing the audience to participate in the trauma of these young girls is so well done, while also incorporating vibrant sequences of action that encompass the emotions they're feeling.

The music is awesome, the dialogue is well thought out, it suffers from some over editing, but nothing too distracting. It's a well made movie that deserves to be rewatched and viewed through the proper lens.

Off the bat I have to say I'm over thirty years older than what some pro critics have claimed is the demographic for this one. Sucker Punch, as reviews etc attest, is not for everyone, it has been called any number of things in derogative fashion, which since I enjoyed the film a lot means I'm a misogynist fetishist gamer, which to the best of my knowledge is not true. Lest I'm in the closet and now in middle age about to unleash traits and feelings previously untapped. Which if the latter is true you would have to say well done Zack Snyder, for that's serious film making...

Sucker Punch is loud, full of visual orgasms, musically adroit, exciting, clever and very sexy. Snyder has made no secret of his fetish leanings when making this piece, but it hardy constitutes a dark seedy mind at work. It can easily be argued that the film is very much pro women, the story itself - in amongst the explosive thunder of the fantastical action - is tender and beautiful, complete with emotional kickers. Perhaps it's in the eye of the beholder? But I see a strong female led action movie, with shifting fantasy realms, and cunningly it calls for deeper ponder come the finale.

Love it or hate it, Snyder has pushed buttons with this exercise. Better that than another cash cow sequel or another remake, re- imaging or rebirth. 7/10

I heard about SUCKER PUNCH since very long because it's one of Zack Snyder's first movies before he directed the DC comic book movies and also because it has tons of divergent reviews (some great, some bad and most in between). Last July I finally saw it and I ended up liking it, not loving it.

The movie is set in the 1950s. Babydoll is accused of having killed her sister during a moment of madness and is taken by her stepfather in the institute for mental illnesses named Lennox House for the Mentally Insane for lobotomize her so that he can take her dead sister's inheritance all for himself. Five days before lobotomy Babydoll enters in her imagination in a burlesque game house and she meet other four dancers that like her want to escape. During a dance lesson by Vera Gorski (Carla Gugino) Babydoll imagines herself in Ancient Japan where she meets the Wise Man (Scott Glenn) that reveals her how to escape from the institute and she'll need five objects: after the dream sequence is over Babydoll has finished her dance and the director Blue Jones (Oscar Isaac) is pleased.

Soon Babydoll, Sweet Pea, Rocket, Blondie and Amber find the objects and end up from battling a World War I battle to a dragon in a medieval castle and other adventures and fugues, up until we return to the instituion where the Player is none other than a surgeon (Jon Hamm) specialized in lobotomy and just practised it on Babydoll. In the meanwhile Sweet Pea is seen riding on a bus with the Wise Man as the driver that takes her despite she is ticket-less because they have a long road to go.

If you go into this movie expecting a superhero movie you are wrong. Yes it's directed by Zack Snyder but it's a totally different movie for him because it was Snyder's original concept and it's good nonetheless. The acting was great, not surprising considering the cast members and the action scenes well coreographed. It's also unique because there are various moments that you just have to see them to believe them (like the aforementioned one of the World War I battle that shiftes with the dragon in the Medieval castle).

Overall, an action movie capable of satysfing its fans and for everyone else, a nice time passer and a guarantee for two hours of fun.