You could say that Sucker Punch is a nymphet version of The Snake Pit or Shutter Island, or a live-action, green-screened redo of The Powerpuff Girls, or Black Swan (Carla Gugino has the demanding dance master role here) with a higher nightmare quotient, or an $82 million tribute to Jess Franco’s sublimely cheesy women-in-prison movies of the ’70s, or an Americanization of Norifumi Suzuki “pinky violence” melodramas (Girl Boss Guerrilla, Sex and Fury) of the same decade, or, in its backstory about a decent girl deprived of her inheritance and consigned to grow up in a prisonlike environment, a gloss on mid-19th-century classics from Jane Eyre to Little Dorrit. With the action scenes playing like production numbers in some high-concept musical, you’ll be reminded of Julie Taymor’s Beatles fantasia, Across the Universe. The visual palette suggests the creepy pastel paintings of Guy Peellaert (Rock Dreams); the fantasy battles with monsters and samurais echo the muscular landscapes of Frank Frazetta and Boris Vallejo. The movie is like an arrested adolescent’s Google search run amok. The teen boy who would get lost in that cyber wonderland — he’s also Sucker Punch‘s target demographic — is meant to fixate on the five girls who go questing. Known only by their prostitute pseudonyms, they include whey-haired sisters Sweet Pea (Abbie Cornish) and Rocket (Jena Malone), a brunette called Blondie (High School Musical‘s Vanessa Hudgens) and the Asian Amber (Jamie Chung). Snyder doesn’t bother much with differentiating these four, as they may simply be personalities fever-dreamed by Baby Doll. That’s Browning, who with the giant eyes, puffy lips and fake eyelashes could be her own anime doll, the whole package dressed in a Japanese schoolgirl outfit as retailored by Victoria’s Secret.
You could say that Sucker Punch is a nymphet version of The Snake Pit or Shutter Island, or a live-action, green-screened redo of The Powerpuff Girls, or Black Swan (Carla Gugino has the demanding dance master role here) with a higher nightmare quotient, or an $82 million tribute to Jess Franco’s sublimely cheesy women-in-prison movies of the ’70s, or an Americanization of Norifumi Suzuki “pinky violence” melodramas (Girl Boss Guerrilla, Sex and Fury) of the same decade, or, in its backstory about a decent girl deprived of her inheritance and consigned to grow up in a prisonlike environment, a gloss on mid-19th-century classics from Jane Eyre to Little Dorrit. With the action scenes playing like production numbers in some high-concept musical, you’ll be reminded of Julie Taymor’s Beatles fantasia, Across the Universe. The visual palette suggests the creepy pastel paintings of Guy Peellaert (Rock Dreams); the fantasy battles with monsters and samurais echo the muscular landscapes of Frank Frazetta and Boris Vallejo. The movie is like an arrested adolescent’s Google search run amok. The teen boy who would get lost in that cyber wonderland — he’s also Sucker Punch‘s target demographic — is meant to fixate on the five girls who go questing. Known only by their prostitute pseudonyms, they include whey-haired sisters Sweet Pea (Abbie Cornish) and Rocket (Jena Malone), a brunette called Blondie (High School Musical‘s Vanessa Hudgens) and the Asian Amber (Jamie Chung). Snyder doesn’t bother much with differentiating these four, as they may simply be personalities fever-dreamed by Baby Doll. That’s Browning, who with the giant eyes, puffy lips and fake eyelashes could be her own anime doll, the whole package dressed in a Japanese schoolgirl outfit as retailored by Victoria’s Secret.
http://www.moviequotedb.com/movies/sucker-punch/quote_79004.html