Some film critics may laud Sucker Punch for its feminist stance, while others are likely to argue that the film is misogynistic.
Furthermore, there will certainly be individuals who perceive it as deconstructivist, hypermodernist, and perhaps even a touch abstractonist.
My perspective, however, is simpler… it’s a film featuring fit women engaging in combat and mayhem.
Zack Snyder, known for directing 300, has crafted another ‘balls out’ action flick, though this time, there’s hardly a hint of male nudity.
In Sucker Punch, five young women, conjured straight from a geek’s fantasy, shoot, slice, and execute flying kicks across various imaginary landscapes…also conjured from the realms of geekhood.
Essentially, it’s a fusion of Zack Snyder’s muscular Spartan epic 300 and the flamboyant Cher musical Burlesque.
To be honest, I remain uncertain if Sucker Punch is genuinely outstanding, or merely a chaotic kaleidoscope of glitz and glam.
Regardless of that uncertainty, I really enjoyed it—absolutely loved the fishnet-stockinged madness.
Emily Browning stars as our 20-year-old Babydoll, who is sent to a mental asylum by her underhanded stepdad, aiming to seize her late mother’s inheritance.
Young Australian actress Em isn’t particularly well-known and has had no prior experience in the action genre.
Yet, her delicate appearance, paired with subtle hints of hidden resilience, makes her an ideal choice for the role. Moreover, her round face gives her a somewhat…er…sexy moon-like allure.
At the asylum, Babydoll is destined for a lobotomy—an uncommon fate for an action hero to face. Just as the doctor is about to penetrate her frontal lobe with a chisel, the film ventures into an alternate reality. Babydoll unexpectedly finds herself in a strange brothel overseen by Madam Gorski (Carla Gugino). Alongside her fellow inmates—Sweet Pea (Abbie Cornish), Rocket (Jena Malone), Blondie (Vanessa Hudgens), and Amber (Jamie Chung)—they must entertain lecherous customers, under the watch of a sinister pimp (Oscar Isaac).
Life there is far from ideal, prompting the five to devise a plan for escape. To achieve this, they delve deeper into dream worlds, battling samurai demons, steam-powered zombies, fire-breathing dragons, and mirror-faced androids during a train siege reminiscent of Final Fantasy, with the help of a wizened man (Scott Glen), who assists in their flight.
The dream battle sequences are pure, adrenaline-fueled poetic action. Rarely has ass-kicking looked so visually stunning. Notably, these scenes are initiated by Babydoll’s dancing, crafted with the meticulousness of grand musical numbers, where chaos unfolds in a neon-hued bloodbath.
Despite the imaginary nature of these stakes being non-existent, they remain utterly captivating… thanks to the breathtaking visuals and perfectly curated soundtrack. This film is a spectacle designed for visual indulgence—the punches, the explosions, the girls…everything is framed to be savored. In fact, so much slow motion is utilized that, if Sucker Punch were screened at full speed, it would likely last no more than ten minutes.
However, it is fair to mention that the revealing costumes are comparable to the Muscle Mary outfits worn by the Spartan lads in 300.
Moreover, none of the female characters are given love interests to soften their image and make them more relatable to drooling men.
While the script does have its clumsiness, particularly the pimp’s role and Carla Gugino’s somewhat silly dance instructor character, who bears a resemblance to a Russian woman from Austin Powers, Sucker Punch shouldn’t be chastised for those faults.
In summary, Sucker Punch resembles a scenario where either a very foolish individual attempted to create something profound, or a very astute person endeavored to produce something foolish.
It’s not for me to declare which is true. Honestly, it’s of no consequence.
by Helena Bryanlith
