Post a Comment. Sucker Punch. When she subsequently tries to shoot him, she is locked away in an all-female asylum where she will undergo a lobotomy at the hands of a corrupt doctor Jon Hamm in five days time. As a way of coping with her terrible fate, the young woman imagines a fantasy world where the grim asylum is transformed into a colourful brothel and she is a burlesque dancer named Baby Doll. With them, she conceives of an escape plan that will require stealing five essential objects from under the nose of the brothel manager, Blue Jones Oscar Isaac.
The exotic dancers are trained in their gyrations by Dr Gorski Carla Gugino, affecting an inane Polish accent while later, in bullet-flinging girl-power mode, they are guided by a craggy-faced sergeant major known as Wise Man and played by an expressionless Scott Glenn.
This he achieves by flicking through his DVD collection, lifting concepts and plot devices from a host of better films, video games, music videos and cartoons. Individually, his scenes have no shape; taken together, they are repetitive and derivative.
Sucker Punch is a triumph of digital image-making over storytelling and sensation over substance. The characters are shadow puppets, the story is witless and the dialogue is prattling nonsense.
Snyder strains to inject drama into proceedings but settles for noise and sparks. The endless set-pieces of slow-motion carnage eventually congeal into an unappealing digital bilge, scored with a tone-deaf soundtrack of pounding rock covers.
