Rated PG-13 for thematic material involving sexuality, violence and combat sequences, and for language
Cast: Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung, Oscar Isaac, Carla Gugino, Jon Hamm, Scott Glenn
Director: Zack Snyder
Possessing a visual style that's meant to double as a cinematic narrative in and of itself is a tall order, and director Zack Snyder comes closer than most.
The visual artisan behind such films as "300" and "Watchmen," Snyder is a director who believes in stories without borders. His films are a bizarre combination of the savage and the ethereal. While his characters often find themselves being vaulted from pillar to post in a world of physical and psychological barbarity, they're seldom imbued with cynicism and are always looking to break free.
Consider the premise of "Sucker Punch." The story involves a young girl named Babydoll. She's played by Emily Browning, an actress of noticeably diminutive stature and a face emboldened by emotional hardship. She looks like she's been hurt before and expects to be hurt again. After a confrontation with her stepfather, she is sent to the Lennox House Insane Asylum. It's one of those forbidding mansions that feeds on the fear siphoned from those thrust through its doors.
From there, the movie is about Babydoll's formulation of a plan to break free before a surgeon nicknamed High Roller (Jon Hamm) arrives to perform a lobotomy illegally authorized by Blue (Oscar Isaac), the asylum's head honcho.
Babydoll enlists the help of some fellow inmates, including Rocket (Jena Malone), an engaging free-spirit whose need to sever herself from parental influence has led to a life she didn't expect. Also, we have the eager but confidence-starved Amber (Jamie Chung) and a feisty brunette ironically named Blondie (Vanessa Hudgens). The most reluctant to join in on the plan is Rocket's big sister, Sweet Pea (Abbie Cornish). With a no-nonsense voice and a cool, detached demeanor, Sweet Pea establishes a protective air around her sister.
What makes the film somewhat unique isn't the plot points, but the stylized manner in which Babydoll navigates the sinews of her escape plan. The film is essentially about the places people flee to in their minds to lead them from the most stifling of situations. What we have here is a symphony of alternate realities conjured up by Babydoll herself to deal with her incarceration. (Although said "alternate realities" seem bred more from the mind of a teen boy with a love of video games than a displaced young girl, but that shouldn't really surprise us given the film's target demographic.)
Examples of these "realities?" After Babydoll's arrival, the asylum takes on the form of a burlesque club, with the key players in the role of dancers. She is taken under the wing of Gorski (Carla Gugino), and taught to unsheathe her rage on the stage. We never bear witness to her exotic dances, as they are actually a portal into a deeper "reality" involving all manner of cinematic set pieces from past, present, and future...
Zeppelins, nuclear bombs, Nazis, fire-breathing dragons, cyborgs, futuristic elevated trains, "Metropolis"-inspired cityscapes... nothing seems off-limits in these alternate locales where our heroines must complete missions explained by a guru (Scott Glenn) to procure a list of items that will help Babydoll's escape.
Yes, I realize the above description is confusing. But describing the plot is moot. Zack Snyder's visual style doesn't exist to compliment the story... it drives the story. That presents a bit of a problem here, as the visuals clearly upstage the narrative. "Watchmen" was an infinitely better movie, as that one had a more nuanced plot and stronger character development to accent its shadowy atmosphere. Here, the heroines are likable though not particularly deep, and narrative cohesion is pretty much abandoned. It is worth noting, however, that Snyder does demonstrate a definite skill at conveying a concept with little or no dialogue. The whole opening sequence is set to an achingly somber rendition of the Eurythmics song "Sweet Dreams."
The alternate realities are where the heroines--armed to the hilt--are at their strongest. The film does make a curious decision, however, to keep them in their skimpy burlesque attire during those battle scenes. This may at first seem like mere titillation for the target demographic, although I wonder if another reason was to show the heroines' vulnerability... a reminder that they're at perpetual war with the salacious perspectives of the men wielding the power. (Although I'm perfectly willing to cop to the fact that I may indeed be giving the filmmakers too much credit with this assumption.)
Rick Carter's production design and Larry Fong's cinematography are stellar, giving rise to a visual style that keeps us occupied enough to refrain from noticing that any potential story has taken the role of sacrificial lamb to the film's distinct look.
As an exercise in visual exuberance, the film more or less works. Somehow I do find myself recommending it despite nagging reservations. It's far from exceptional, as there's simply too little substance to accompany the style. The movie scores an A for style but a C- for substance. Split the difference, you get a modest recommendation. The film is more a feast for the eyes than the brain.
* * * out of * * * * stars
