Critics: 23% Positive.
Average Rating: 4.1/10
Reviews: 202
- Positive - 47
- Negative - 155
Audience: 47% Positive.
Average Rating: 3/5
Ratings: 92,757
"It's technically impressive and loaded with eye-catching images, but without characters or a plot to support them, all of Sucker Punch's visual thrills are for naught."
Critics:
Gun-toting hotties combat assorted villains and their robot henchmen in this tawdry, repellent action fantasy.
Snyder likes to think that his Russian nesting doll of a concept is enough to excuse its hollow center.
It's close to what Quentin Tarantino and Robert Rodriguez were after with their Grind House double-header, but shot through with Snyder's own psychotropic brio (which is something like the unholy union of David Lynch, Brian De Palma, and Ken Russell)
The movie spins out of control, until it collapses in a heap, senseless.
The baleful influence of David Lynch, kung-fu pictures and Shutter Island lie behind its rancid lucubrations.
I don't doubt that Mr Snyder is possessed of an imagination; it's just that what he imagines is hackneyed, meretricious and boring.
Have we already found the worst film of the year?
If you thought Zack Snyder's previous films, among them 300 and Watchmen, were over the top - cliché-embracing, muscle-bound pseudo-triumphs of digital effects over storytelling - they have nothing on Sucker Punch.
Proves that while masturbating over your cast may not make you blind, it can impair directorial vision.
Snyder pulverises our senses with derivative digital images and obvious musical choices. But his failure to delineate the levels of 'reality' is confusing and self-defeating.
It's not often you see a film that makes you think, 'I wish I was watching Yogi Bear again.'
Ambitious and visually impressive as a pop-video mash-up, but, lacking a strong emotional core, it doesn't quite cohere as a fully satisfying movie.
A series of extravagant computer-generated adventure scenarios linked by grim mental hospital plot, Sucker Punch represents a particularly ambitious exercise in tedium.
Director Zack Snyder and his production crew clearly had great fun envisioning this swords-and-corsets fantasy. Few others are likely to approach their level of enjoyment.
The suckers here are the poor mugs who leave their dollars at the door. And for what? A seedy, desaturated, overstimulated simulation of a real movie. Schlock treatment for comatose gamers, and a bomb with a bright pink cherry on top.
The movie is like an arrested adolescent's Google search run amok.
Map! Fire! Knife! Key! (Well, eat drink man woman to you too, honey.)
Looks aren't everything. Case in point: Sucker Punch, a dazzling visual design that goes tone-deaf every time it opens its dumb mouth or makes claims to profundity.
An indecipherable, hypocritical mess that proves you can fill a movie with scantily-clad women with big guns and it can still bore one to tears.
"Sucker Punch" is what happens when a studio gives carte blanche to a filmmaker who has absolutely nothing original or even coherent to say.
My personal rule of film enjoyment goes a little like this: you can be miserable or pointless, but you can't be both. Sucker Punch works hard to be both.
I can't be sure whether it's brilliant or idiotic, although I'm pretty confident it's both, and not always in different places or at different moments.
You've never seen a movie like Sucker Punch. And depending on your entertainment preferences, you may not want to.
In the end, Snyder confuses going ugly for getting serious, and he destroys his movie completely.
Wild, loud, fetishistically stylized, and...numbingly dull.
There is nothing here to enjoy, beyond the tiny satisfaction in noting that the movie lives up to its name.
[The] mash-up set pieces blend into so-awesome-they're-awful slo-mo monotony, and the awful sisterhood stuff in between makes you anticipate the action as though waiting for the bus.
[A] cacophonous, half-digested mass of pop-culture influences.
Zack Snyder's storytelling skills remain in question in his latest CGI spectacular.
It provides sporadic seconds of splendid eye candy separated by minutes of muddled exposition and flat acting.
"Close your eyes. Open your mind. You will be unprepared," is the movie's ad slogan. Indeed. You will be unprepared for a film packing this much confusing crud into a little less than two hours...
A wonderfully wild provocation - an imperfect, overlong, intemperate and utterly absorbing romp through the id that I wouldn't have missed for the world.
Snyder has described it as "Alice In Wonderland with machine guns," but it's more like The Pussycat Dolls Present Steampunk Kill Bill, only more assaultive and pandering than that description suggests.
One feels for the talented actors swept into such hokum.
Director Zach Snyder offers a peek inside his head, which turns out to be a vomatorium of pop culture's every geeky element.
Average Rating: 4.1/10
Reviews: 202
- Positive - 47
- Negative - 155
Audience: 47% Positive.
Average Rating: 3/5
Ratings: 92,757
"It's technically impressive and loaded with eye-catching images, but without characters or a plot to support them, all of Sucker Punch's visual thrills are for naught."
Critics:
Gun-toting hotties combat assorted villains and their robot henchmen in this tawdry, repellent action fantasy.
Snyder likes to think that his Russian nesting doll of a concept is enough to excuse its hollow center.
It's close to what Quentin Tarantino and Robert Rodriguez were after with their Grind House double-header, but shot through with Snyder's own psychotropic brio (which is something like the unholy union of David Lynch, Brian De Palma, and Ken Russell)
The movie spins out of control, until it collapses in a heap, senseless.
The baleful influence of David Lynch, kung-fu pictures and Shutter Island lie behind its rancid lucubrations.
I don't doubt that Mr Snyder is possessed of an imagination; it's just that what he imagines is hackneyed, meretricious and boring.
Have we already found the worst film of the year?
If you thought Zack Snyder's previous films, among them 300 and Watchmen, were over the top - cliché-embracing, muscle-bound pseudo-triumphs of digital effects over storytelling - they have nothing on Sucker Punch.
Proves that while masturbating over your cast may not make you blind, it can impair directorial vision.
Snyder pulverises our senses with derivative digital images and obvious musical choices. But his failure to delineate the levels of 'reality' is confusing and self-defeating.
It's not often you see a film that makes you think, 'I wish I was watching Yogi Bear again.'
Ambitious and visually impressive as a pop-video mash-up, but, lacking a strong emotional core, it doesn't quite cohere as a fully satisfying movie.
A series of extravagant computer-generated adventure scenarios linked by grim mental hospital plot, Sucker Punch represents a particularly ambitious exercise in tedium.
Director Zack Snyder and his production crew clearly had great fun envisioning this swords-and-corsets fantasy. Few others are likely to approach their level of enjoyment.
The suckers here are the poor mugs who leave their dollars at the door. And for what? A seedy, desaturated, overstimulated simulation of a real movie. Schlock treatment for comatose gamers, and a bomb with a bright pink cherry on top.
The movie is like an arrested adolescent's Google search run amok.
Map! Fire! Knife! Key! (Well, eat drink man woman to you too, honey.)
Looks aren't everything. Case in point: Sucker Punch, a dazzling visual design that goes tone-deaf every time it opens its dumb mouth or makes claims to profundity.
An indecipherable, hypocritical mess that proves you can fill a movie with scantily-clad women with big guns and it can still bore one to tears.
"Sucker Punch" is what happens when a studio gives carte blanche to a filmmaker who has absolutely nothing original or even coherent to say.
My personal rule of film enjoyment goes a little like this: you can be miserable or pointless, but you can't be both. Sucker Punch works hard to be both.
I can't be sure whether it's brilliant or idiotic, although I'm pretty confident it's both, and not always in different places or at different moments.
You've never seen a movie like Sucker Punch. And depending on your entertainment preferences, you may not want to.
In the end, Snyder confuses going ugly for getting serious, and he destroys his movie completely.
Wild, loud, fetishistically stylized, and...numbingly dull.
There is nothing here to enjoy, beyond the tiny satisfaction in noting that the movie lives up to its name.
[The] mash-up set pieces blend into so-awesome-they're-awful slo-mo monotony, and the awful sisterhood stuff in between makes you anticipate the action as though waiting for the bus.
[A] cacophonous, half-digested mass of pop-culture influences.
Zack Snyder's storytelling skills remain in question in his latest CGI spectacular.
It provides sporadic seconds of splendid eye candy separated by minutes of muddled exposition and flat acting.
"Close your eyes. Open your mind. You will be unprepared," is the movie's ad slogan. Indeed. You will be unprepared for a film packing this much confusing crud into a little less than two hours...
A wonderfully wild provocation - an imperfect, overlong, intemperate and utterly absorbing romp through the id that I wouldn't have missed for the world.
Snyder has described it as "Alice In Wonderland with machine guns," but it's more like The Pussycat Dolls Present Steampunk Kill Bill, only more assaultive and pandering than that description suggests.
One feels for the talented actors swept into such hokum.
Director Zach Snyder offers a peek inside his head, which turns out to be a vomatorium of pop culture's every geeky element.
First Impressions: Empowerment. Women fighting back. Double speak = mind control. Fight for freedom. Rebellion and freedom. "Guide" = "Agent of liberation."
Look Again: Escape and dissociation. "Guide" = "A handler who owned the keys to her psyche, guiding her into the fracturing of her personality."
Final Words: Narrator. "Who honors those we love with the very life we live? Who sends monsters to kill us and at the same time sings that we'll never die? Who teaches us what's real and how to laugh at lies? Who decides why we live and what we'll die to defend? Who chains us? And who holds the key that can set us free?" Self-determination or a description of the handler's control of the slave's psyche?
"It's you. You have all the weapons you need. Now fight." Recall of what Baby Doll said previously.
Techniques: Illusion. Deceit. Double-speech.
Look Again: Escape and dissociation. "Guide" = "A handler who owned the keys to her psyche, guiding her into the fracturing of her personality."
Final Words: Narrator. "Who honors those we love with the very life we live? Who sends monsters to kill us and at the same time sings that we'll never die? Who teaches us what's real and how to laugh at lies? Who decides why we live and what we'll die to defend? Who chains us? And who holds the key that can set us free?" Self-determination or a description of the handler's control of the slave's psyche?
"It's you. You have all the weapons you need. Now fight." Recall of what Baby Doll said previously.
Techniques: Illusion. Deceit. Double-speech.
Tyler Bates is the music producer for Sucker Punch. With more than 49 films and 17 years scoring movies, film composer Tyler Bates is at the forefront of innovation in film music. Bates continuously provides ambient electronic textures, intoxicating vocal melodies and driving hypnotic rhythms, including the new rock n' roll themed soundtrack for Conan The Barbarian, releasing on August 16.
His work has appeared in countless movies and television shows: The Day the Earth Stood Still, Showtime's hit series Californication, Dawn of the Dead, Halloween, Slither and The Devil's Rejects, 300 & Watchmen. He's also composed for numerous videogames such as Army of Two: The 40th Day and Activision's Transformers.
Bates will engage in a discussion with the GRAMMY Museum's Executive Director Bob Santelli, and will take questions from the audience and instruct a live composing demonstration.
Monday, August 15th 2011 8pm
Doors Open at 7:30PM
Tickets available at grammymuseum.org
His work has appeared in countless movies and television shows: The Day the Earth Stood Still, Showtime's hit series Californication, Dawn of the Dead, Halloween, Slither and The Devil's Rejects, 300 & Watchmen. He's also composed for numerous videogames such as Army of Two: The 40th Day and Activision's Transformers.
Bates will engage in a discussion with the GRAMMY Museum's Executive Director Bob Santelli, and will take questions from the audience and instruct a live composing demonstration.
Monday, August 15th 2011 8pm
Doors Open at 7:30PM
Tickets available at grammymuseum.org
