Sucker Punch [DVD] [2011]

*** POTENTIAL SPOILERS FOLLOW ***

I'm making the focus of this review an explanation of what I believe (and others that have shared their thoughts with me) the story and film is about. I think alot of the issues negative reviews have is that it makes no sense, so hopefully what I've laid out here will help go some way to explaining it.

Like other, more constructive, reviews have already stated this film works on a number of levels. Not just the various layers of reality but also with layered meaning and symbolism. I you were expecting *just* an easy to watch straightfoward action film then you're going to be, well, sucker-punched. Why would anyone think this though - the trailers' all pretty much warned you to not expect that and the title definitely does. In fact there are multiple ways to interpret the title of the film beyond it just not being a straightforward action film. Here are a few points to consider regardin it:

* Baby Doll was not the protagonist (a fact she twigs on to at the end).

* She isn't even necessarily real - she's an 'Angel' created in the mind of Sweet Pea.

* Baby Doll's back story (her sister and situation) all describe, in part, the story of Sweet Pea's (as alluded to within certain scene's of the film).

* Let's also not forget that Sweet Pea was playing the role of Baby Doll in the first scene on the stage. The narrator all the way through the film is Sweet Pea. The fantasy bordello elements didn't actually start until we meet Sweet Pea.

So, I believe Sweet Pea is the reality of this film, and no-one else, and if you realise Sweet Pea is the focus of the film's story (and this may only occur on repeat viewings) then you pick up on a lot more *clues* as to what is really taking place in this film.

Right at the beginning of the film a curtain opens and Sweet Pea is telling the story of how she came to be in an asylum. In her retelling, it's a 50's style asylum. The doctor reminds her that she's in control of the story. The asylum of the film isn't actually real (it goes without saying that the bordello and action scenes are also fantasies) which explains the anachronisms of modern music combined with 50's style fashion and technology.

In order to recover, she needs to explore her issues. Sessions in which they're addressed are too traumatic, so she further escapes into outright fantasies (the action scenes). The shifts through the various layers of realities and the projection of other personalities are the way Sweet Pea explores her issues and works through them. Its a very clever way of representing isolation and dissociative behaviour to make them palatable and accessible to the average film-goer.

The film's plotline is basically about Sweet Pea's journey along the path of recovery, her "escape". So, the other girls are symbolic of this journey:

1) Baby Doll is a projection of Sweet Pea's guilt over not being able to save her sister. She has to let that go at the end to fully "escape".

2) Rocket is repesentative of Sweet Pea's sister. She *is* Sweet Pea's sister but the denouement as she lies in Sweet Pea's arms goes some way to healing her [Sweet Pea].

3) Blondie is a projection of Sweet Pea's self-doubt. Constantly unsure, she also seeks justification and forgiveness in the arms of various authority figures (ie, the doctor and Blue).

4) Amber is a projection of Sweet Pea's denial and mental resistance to what has occured and this is symbolised in the fact that she's always the pilot - there to pull Sweet Pea out of the fire if it gets too hot.

Along with the layers of reality, all these characters are used within the film as metaphors for Sweet Pea's self-healing. The other characters (the doctor, Blue, her father) all exist as antagonists to this process throughout these layers of reality.

It really is a gutsy (maybe even experimental) film, dealing with these kind of issues, but because its wrapped up in the guise of a comic book (along with its script, visuals, etc) people don't seem to be able to see it for what it is. Which is a pity. With this in mind, I find it amusing to read alot of the negative reviews - especially the people that state how badly, scripted/acted/directed the film is and then plead with us that it makes no sense. If such people actually had any perceptive qualities they'd understand what the film is about, and as they don't it kinda calls into question their ability to recognise what a good film *is*.

In this film Zack Snyder has attempted to deal with some really big issues that are extraordinarily difficult to explain or represent visually in any format, never mind as the type of 'moving graphic novel' style he's known for, and he's probably failed as most viewers simply don't get the film. For me though, I found this film demanding (in a good way) and it made me really think about what was taking place and what it was actually about. Only a second viewing really sorted it out in my mind.

I believe, this film is a rough diamond and confirms that Zack Snyder is a visionary film maker who's attention to visual composition is up there with other movie making greats. As with his other films, he also knows how to integrate a film's score/music into a scene and in Sucker Punch he's reached his zenith on this - the soundtrack really fits. Sucker Punch, when at is best, dances along like some crazed hybrid action movie/graphic novel/music video. And its awesome. When not doing this, it does lack pace and interest can wane - almost like coming down from a drug induced high. But, considering the context of the film, perhaps that's somewhat deliberate? ... Snyder's took a real risk with the driving force behind this film as well as its presentation, which is commendable. Sucker Punch is an imperfect work of art which doesn't really fall into the category of 'standard film making'; it attempts to use the medium and approach storytelling in a different and highly stylised way, and I really enjoyed those aspects of it in addition to the central conceit of the film with regards to uncovering and understanding the layers of reality and the symbolism of the characters.

Although the film is not perfect by any means or without its faults, I hope people give it more of a chance in the future.

7/10.

Blu-ray review.

Sucker Punch is an action-fantasy thriller film, following the fantasies of a young woman who is committed to a mental institution, and how she makes plans to escape the hospital before undergoing a lobotomy. The cinematic release earlier in 2011 received a generally negative reception from critics, who considered the film poorly written and acted despite the visual flair, and significantly underperformed at the box office, barely recouping its budget.

Within about fifteen minutes of watching this Blu-ray film (which I rented) I 'got it', and from then on it was basically a question of going through the motions, with no shocks or twists at all. A couple of things occurred to me; first that this was little more than a complete indulgence for the director and creator, and secondly that it probably would have been truer to those indulgences had all censorship been lifted - or at least, given an 18 rating. As it stands it's almost conspicuous for its toning-down of whatever overt sexuality that the writer and director surely had in mind originally, the financial objective being to get it accepted for viewers of only 12 years of age. The film cost over $80 million so maybe there was unplanned pressure to get it to a wider audience. Personally I think this backfired; it's a film that, like Sin City for example, should really be aimed at adults with no compromises in terms of censorship.

This is definitely a film that if you're going to get it at all, you must go for the Blu-ray version. It's all about visual and aural impact so to best enjoy that, go hi-def. Music being such an essential element of this film, the soundtrack takes full advantage of the 5.1 DTS-HD format, with nearly constant activity in the rear and side channels and distinct stereoscopic movement from speaker to speaker.

But don't expect much more; the characters are all shallow and pointless, the viewer hardly cares if anyone dies or not, and claims by some other reviewers that there are 'deep, hidden messages' within this film are just ridiculous. There's nothing more to it than what you see. Watch, enjoy the sounds and visions and then pretty much forget about it - although I can imagine that many people will want to watch it several times even if they agree with this. It's an odd mixture of intrigue and utter nonsense, in some ways so bad as to be 1-star crud, yet equally worthy of a 5-star max for its special effects and overall visual impact. But deep and meaningful it most definitely is not, and the acting (particularly from every single male character) is pretty amateurish.

I've given it a 3-star rating because it's in the middle and since it's possible to apply any and every rating, might as well give it that. I'm not saying that it's exactly in the same peer group as Sin City, but for the record I thought that was much, much better than this. It shares some concepts with The Matrix too, and again it's nowhere near as good as that. I preferred 300 as well (by the same director). In summary it was a touch disappointing, I had expected more and better. Glad I watched it though.
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Initial post: 29 Mar 2012 13:37:59 BDT
The Truth says:

Good review. And I agree - there is no need to look for any deep and hidden meaning in this film. It is what it is, and you'll either love it or hate it. I, myself, loved it.

Sucker Punch has such an extraordinary trailer that there ought to be an Oscar category for trailers, just to reward it. That may be the only recognition the film ever gets, because no full length feature film in history could live up to that kind promise, just in terms of sheer bombast. And, judging by the initial critical reaction, nor has this one got a Babydoll's chance in a House for the Mentally Insane of getting any industry recognition: it's going down like a burning zeppelin with the critics. A "crass women's penitentiary picture reconceived for today's manga- and vidgame-savvy crowd" says one (presumably not manga- and "vidgame" savvy) critic; "built so as to dispense with the need for narrative logic" says another. A pity, because I think the critics are wildly wrong here. With any luck the public will have a different view, because Sucker Punch almost lives up to its trailer.

It could be the greatest fantasy motion picture since The Matrix. It could also be the greatest disaster since The Hindenburg. In either case the ringside seat is a scorcher.

Let's see, then.

In fairness, the film does miss a couple of the trailer's features: There's no Led Zeppelin on the soundtrack, for one thing. Nonetheless, Zack Snyder uses every trick in the book. It's beautifully shot. Every frame is a gem. The technology - there's more green screen here than in Sky Captain & The World Of Tomorrow- is sympathetic, clever and impressive. It's artistic. It oozes style. It is in glorious two dimensions.

There's a little preamble which winds up in an all-girl asylum before things descend impossibly into a psychotic imaginarium of kick-ass ninja dolls, samurai, monster robots, fire-breathing dragons, sepia-tinted Nazi zeppelins and crash-&-burning bi-planes: yea: all of the above. Amongst it all, statuesque, like a serene core at the eye of the storm is super-cool Scott Glenn, a multiple personality avatar dispensing one-line platitudes to his jailbait harem as if the structural integrity of universe required it. He intones Alexander Hamilton's aphorism: "Stand for something, or you'll fall for anything".

Sucker Punch, indeed, stands for everything. Anything, even. So much does it play like a seventeen-year-old's wet dream that it is tempting to write it off as one.

It would appear many critics have been duly tempted. Their major complaints: Lack of wit. No plot. Wafer-thin characters. Gratuitous girlitude. The last two, sure - but, come on: the context is comic book bravura. What did you expect: Kurosawa? Yes, parts of it are like stages of a video game, they are meant to be. Sucker Punch borrows from The Matrix, but repays with interest.

But lack of wit? This is a brilliantly funny picture. And no plot? Au contraire: that's a different story. In their haste to write this off, I fear the critics have forgotten to pay attention. Ladies and Gentlemen of the Jury: before you bemoan a lack of intellectual endeavour, use some of your own: at least have a go at trying to puzzle things out. And there are some puzzles, if you only look for them: narrative peculiarities which Snyder has gone to some lengths to achieve. It's only fair to suppose he did this for a reason.

Firstly, the opening scene: pay attention. We open in a vaudeville theatre. The velvet curtains open on a set that is a young girl's bedroom. We see a blonde girl sitting on her bed with her back to us. Take note: This is a theatrical set of some description. It's a play. It's not real. The camera tracks in and around the girl on the bed, and as it does so the set resolves into an actual house. Then we see the girl's face. It is Babydoll (Emily Browning). Note how we are introduced to Babydoll: on a stage. It is important.

Babydoll's mother is dead. An Evil Stepfather circles like a vulture. He tries to have his way with Babydoll. She resists. He locks the door, and turns to Babydoll's little sister. Babydoll tries to intervene, but little sister winds up dead. Again, remember this. Look out for parallels with other characters later in the movie.

Babydoll is framed for her sister's murder and corruptly declared insane. She is institutionalised and maliciously scheduled for a quick lobotomy. Again, note how this happens: To a reworking of Eurhythmics' Sweet Dreams (Are Made Of This), a Black Maria rolls up the hill to "Lennox House", an institution "FOR THE MENTALLY INSANE" - or just of sweet dreams? Warders and orderlies leer. Babydoll is given a tour. She winds up in a common room full of crazies called "the theatre". At this point there is a sudden and jarring transition from Asylum to Bordello. Suddenly we are in a Burlesque Club of some sort - where did the Asylum go? We meet a showgirl Sweetpea, during a rehearsal. She breaks off, mid scene, aghast at the notion that the production should contemplate her character, an orphan, being sent to an asylum for a lobotomy. Again, note this scene.

These are hardly subtle clues. Yet still this secret seems to have eluded Hollywood's finest: Is this film really about Babydoll? It is not. Whose world is imaginary and whose is real?

Sucker Punch is certainly not perfect - it's 20 minutes too long, and for a film featuring five bombshells in their knickers, it is oddly sexless. Blue Jones (Oscar Isaac) is a bloodless villain. But as far as science fiction/fantasy goes, it is so much more sophisticated and imaginative than Avatar, The Last Airbenderor utterly pitiful Mars Needs Moms as indeed to seem like Kurosawa. It is stylish. It is witty. It has more bombast than Elton John's birthday. It has an attention span of about thirty seconds.

A Matrix, therefore, for the YouTube generation. God forbid that they make a sequel.

Olly Buxton