Beautiful, magical, inspiring.

Rating: 8/10 (10 August 2012)

Despite it's critical mauling and audience apathy, the world created by Zack Snyder's Sucker Punch is something truly special, uniquely beautiful and, though flawed, it stands as a good example of the ongoing trend of big name directors gambling on films that offer something different to the same old story, same old set pieces and same old sequel friendly endings.
I'm biased. I admit, this film could easily have been made just for me: I am a white male in my 30's who loves video games, fantastical fiction and beautiful women kicking ass in skimpy costumes.
That said, I like artistic depth and bold choices in my cinema and despite Sucker Punch's lurid façade and apparent lack of characterisation, it is a film of considerable profundity which belies a high level of attention to detail and artistry.
Dealing as it does with a brooding 1950's nightmare of loss and domestic dysfunction, giving way to a young woman's incarceration in a mental asylum; in turn snapping to a fevered vision of a glamorous yet resolutely abusive brothel which holds young, vulnerable women hostage in order to 'entertain' various n'er do wells. From there we are dragged deeper into a series of microcosmic worlds populated by monsters, robots and steam-powered zombies, in which our protagonists re-materialise as an elite team of ludicrously sexy and infinitely cool warrior women. I think it's fair to say that I can't think of another film that does visually beautiful, surreal, action-packed and amazingly choreographed to such a mad degree. But yet, never does it feel gratuitous, pondering, as it does, matters of guilt, regret, atonement and self sacrifice throughout.
Much has been made of the films lack of character development and reliance on music video style to tell it's story and, to be honest this is true. However, rather than a weakness, this is simply how Snyder has chosen to tell the tale. On first viewing, it is perhaps less than effective. The story is not thrilling. It is something different: like a visual poem, it whispers to you, drawing you into the luxurious veils of chocolate brown, copper blue and red wine that seduce the eye. I must confess that initially, it was only the outward glamour that held my attention and only upon reaching the end, contemplating the sparse dialogue and the portent glowing symbols which spring from the screen, did I think about it all and realise just what an unusual and magical film it was. The next day I watched it again. The day after, I watched the extended edition. Now, despite it's flaws it is one of my favourite films.
Regarding said extended edition. Yes, it is required viewing if the original version cast as much of a spell over you as it did me, but as a standalone work, it is inferior to the theatrical version.
A couple of the scenes blatantly should have made the final cut: Baby Doll's conversation with the High Roller at the end is absolutely beautiful to watch and listen to, gives huge credit to both actors and backs up the Doctor's apparent compassion towards the asylum inmates. Equally, there are a few bits and bobs in the phenomenal 'trenches' sequence that should have stayed.
On the other hand a couple of bits, ultimately should have remained on the cutting room floor. We didn't need to see Sweet Pea stealing the clothes from the washing line at the end. It only served to undermine the dignity and beauty of this wonderful character, so tenderly played by Abbie Cornish. Equally, the stylised gunplay in the 'dragon' sequence was a bit of a bridge to far. While elsewhere, the weapon handling is quite convincing and does credit to the film's military advisors; here things get slightly ridiculous. Also Sweet Pea's swordplay in this scene looks a little weaker than Baby Doll's.
Lastly, things I am on the fence about: The extra musical number in the brothel. Yes, it's great to watch if you are already familiar with the film. But perhaps it lightened the mood just a shade too much, showing a playful side to Blue and giving too much of an identity to the other girls in the brothel, who, for the remainder of the film, remain as indistinct beauties in the background.
Zack Snyder apparently commented somewhere that the film was not completely finished. Indeed you can imagine the big money behind the project getting jittery about how abstract it was, tapping their watches and ripping the incomplete product from his hands. Indeed, this lack of completeness does resonate somewhat in the film. The ending in particular is fairly cerebral and downbeat. It is possible that on first viewing you might not even pick up that Sweet Pea is the narrator and that both Baby Doll and the Wise Man are 'Angels'.
It is a flawed piece, no doubt. But as mainstream Hollywood films go, it is among the most interesting, thought provoking and downright stunning films of it's generation.
You have the weapons now use them!