Sucker Punch

2011

Action / Adventure / Fantasy

188
Rotten Tomatoes Critics - Rotten 23%
Rotten Tomatoes Audience - Spilled 47%
IMDb Rating 6.1 10 213920

Synopsis


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January 31, 2012 at 11:19 AM

Director

Cast

Jena Malone as Rocket
Carla Gugino as Dr. Vera Gorski
Emily Browning as Babydoll
Oscar Isaac as Blue Jones
720p.BLU
650.38 MB
1280*720
English
PG-13
23.976 fps
1hr 50 min
P/S 8 / 94

Movie Reviews

Reviewed by nothimme 9 / 10

Just like Stanley Kubrick's ''Eyes Wide Shut''

Don't look at the movie the way it is. You can hate it for whatever reasons you like but this movie isn't just stupid, soulless and pointless sexual fantasy. There is more thought put into it than you could imagine. Too bad critics bashed the movie for the things that couldn't comprehend and the audience went with it.

The whole thing is a big fantasy that does not exist or happening in the real world. The movie is actually about Sweet Pea(Abbie Cornish). She is the star of the show. Snyder made that very clear from the start. Babydoll(Emily Browning) is a figment of Sweet Pea's imagination. She is the physical embodiment of Sweet Pea. She is the 5th thing. She is the guardian angel that Sweet Pea created to deal with her messed up life. The entire film is a reflection of the internal struggle of Sweet Pea, everything that happens, the catalyst for which is her being lobotomized. That's why she is the one who's narrating the film. The stuff that we've seen with Baby Doll during the opening scene, that's all Sweet Pea acting out her past trauma in her mind, just as she was taught to do in the mental institution. That's why the movie opens on a stage that direct parallel to how Sweet Pea is acting out that same trauma on a stage when Baby Doll first arrives. After that, the lobotomy comes. The key to everything that happens in the movie. Reimagined through Baby Doll, Sweet Pea disassociates from reality when the needle plunges into her brain, retreating into her mind in the same way she's taught to by Dr. Gorski. She's not in real world anymore. This is also what happened in Sweet Pea's real life, and the effect of that lobotomy is THE MOVIE. That's right, Sucker Punch is the result of a lobotomy. Just one big subconscious coping mechanism for a girl to find peace. But this patient, Sweet Pea, is able to interrupt the lobotomy, intruding on her own story. She's even able to repurpose the accidental killing of her sister into a deliberate and necessary sacrifice on her sister's part to save her. In this second layer of fantasy, Sweet Pea imagines herself and the rest of the girls working in a brothel, objectified and lusted after by an audience. This mirrors us tuning in to see these girls perform for us in various outfits. This connection is made clear from the opening of the film, which lets us know that we're the audience watching all this unfold on stage. By choosing to watch the movie, we are complicit in everything that's happening. Of course, this doesn't mean to condemn you for wanting to see nubile girls kicking ass. What this movie is really about is the difference between empowerment and exploitation. This is represented through three layers of fantasy, each exploring a different set of social values, each aligning with different phases of the feminist movement. First up is a grim incarnation of the '60s, set during the second wave of the feminist movement, when gender inequality was much more widespread. That gender inequality is amplified in the second world -the brothel- which takes us back even further, to a time when women were literally treated like property. And finally we have the pop culture world -the world of today- which imagines Baby Doll's dancing through various aspects of modern geek culture, dressing the girls up in all the typical fetishistic attire we've come to expect video games, TV, movies, etc. Sweet Pea is aware of how sick this is, and rejects that Baby Doll's dancing could possibly be empowering. It's only through seeing its effect on men does she start to see how much power they really have, as the girls start taking back the control they've lost by using men's objectification of them to their advantage. By embracing their sexuality instead of fearing it, they learn that their inherent femininity can be better used as a means of holding men under their sway. Suddenly, it's the men who become helpless instead of them. Point being, men may be in a position to physically overpower women, but women have the power to psychologically overpower men, thus inverting history's long-standing power dynamic between men and women. This is then mirrored to very much the same effect in the action fantasy scenarios - a symbolic gesture on Snyder's part to show women taking back geek culture, which men have been dominating with their boy club mentality and pervasive misogyny for far too long. This is demonstrated further once we cut back to Baby Doll's lobotomy, after Sweet Pea has found peace. While Sweet Pea is busy imagining that she's taking the magic school bus to a better world, Blue has plans of his own. But it's too late, she's already escaped, even if it's only mentally. Sweet Pea sacrifices her body -Baby Doll- and retreats into the comfort of her own mind, a paradise over which nobody has control of but her. Blue may have control over her body, but without her mind, he has nothing. The importance of this is also apparent during Baby Doll's encounter with the High Roller, who recognizes that the choice to truly be with someone lies with you and you alone. As the scene with the High Roller reaffirms, the distinction between exploitation and empowerment all comes down to personal choice. And that's all.

I feel when people see Snyder's films, they turn off their brains and see everything literal, and never uses their brain to read the images that appear on the screen at all.

Reviewed by floraposteschild 1 / 10

Kill Bill it's not

If you don't know the difference between female agency and a sadomasochistic fantasy, and you don't care to know, or if you think Justine is a feminist tract, you will love this movie. The story follows the adventures of Babydoll (no other name; perfect makeup, no matter what), who tries to kill her evil stepfather and accidentally kills her sister. He gets her thrown into an asylum, somehow, and -- holy ticking clock! -- she will be lobotomized with an ice pick by Dr. Jon Hamm in five days. What can she do? Dick-matizing sexy dancing and Inception levels of fantasy, that's what! Zach Snyder wrote Sucker Punch with male fans of Frank Miller and video games in mind (see: the top Imdb comment), with the thinnest possible veneer of interest for females, whom he must think are either stupid, or moved and deeply grateful at his depiction of rape and abuse. The only thing I'm grateful for is Oscar Isaac, who sings, dances, and chews all the non-CGI scenery. The podcast How Did This Made asked its listeners to complete this statement: "Sucker Punch is to female empowerment as...." There were a lot good responses, including "...as Michael Bay is to subtlety" and "...as the Holocaust is to German pride." Mine is "...as Mandingo is to Civil Rights."

Reviewed by drmariusgarrett 1 / 10

A concoction of genres held by CGI and a weird little girl fetish

Similar to the film "Life of Pi" expropriated with characters that act as avatars for the real world, and "One Flew Over the Cuckoos Nest" for the finale. Sucker Punch is filled in-between with a CGI wonderland. Although seemingly anti abuse (male onto female), the context remains one of pleasuring the male ego. Disturbing because of the hopelessness and destitution of the female characters, held together by male infantile and juvenile save-the-world arcade game sequences. All the men gain their pleasures despite their eventual negative outcomes. La petite mort become la grand mort but still a climax for the men. Disturbing on many levels.

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