Sucker Punch a sprawling and convoluted action sci-fi fantasy is director Zack Snyder’s first “original” film in that it’s based on a script Snyder co-wrote (along with Steve Shibuya) and not a graphic novel or a previous movie. But to anyone who has seen Snyder’s two previous live-action films 300 and Watchmen it will feel awfully familiar: His now-trademark flourishes – gorgeous visuals elaborate action sequences a desaturated color palette a CGI-airbrushed “heightened reality ” abundant slo-mo and fatal self-seriousness – are all conspicuously on display.
It’s all there in fact in Sucker Punch’s opening sequence: a very intense and ultra-dramatic montage set to a haunting cover of the Eurythmics’ "Sweet Dreams" and slowed down to a crawl so that we may better admire every super-stylized detail of Snyder’s exquisite handiwork. It depicts a series of wrenching domestic tragedies that result in the film’s teenage heroine Babydoll (Emily Browning) being shipped off to an all-girls mental hospital by her malevolent stepfather (Gerard Plunkett) properly setting the stage for the ensuing melodrama.
To ensure Babydoll doesn’t act up again evil stepdaddy bribes a corrupt orderly (Oscar Isaac) into having the traumatized but otherwise mentally competent girl lobotomized without the required consent of the facility’s resident psychiatrist Dr. Gorski (Carla Gugino). The year is 1967 and lobotomies though still legal are exceedingly rare; as such they must wait five days for the local lobotomizing physician (Jon Hamm) to come and turn Babydoll into a very pretty vegetable. Which is more than enough time for her to retreat into a dreamworld and concoct a vivid fantasy in which she and four scantily clad mates – Rocket (Jena Malone) Sweat Pea (Abbie Cornish) Blondie (Vanessa Hudgens) Amber (Jamie Chung) – conspire to escape the brothel in which they’re imprisoned.
The meat of the escape plan calls for a series of quests in which Babydoll and the gang battle giant samurais World War I zombie troopers futuristic alien robots dragons et al – all while dressed in sleek variants of the archetypal hot chick Halloween costumes (sexy nurse sexy schoolgirl sexy sanitation worker etc.). The sequences are well-choreographed and visually stimulating but have very little connection to the plot – they’re more like beautiful and disposable diversions grandiose music videos in which Snyder is able to cram elements from a broad spectrum of pop culture influences from Hong Kong cinema and anime to Moulin Rouge and Heavy Metal without any apparent rules or logic to bind his fertile imagination.
All of which wouldn’t be so bad – honestly it wouldn’t – if Sucker Punch weren’t so punishingly maudlin. Nary a scene goes by in which some poor girl isn’t threatened or smacked or nearly raped. (All the women in the film are victims; the men with the exception of Scott Glenn's imaginary character monsters.) A movie with hot chicks and guns and orcs and robots and zombies should at the very least be fun. But Snyder’s film is dour and pretentious to the point of pain an overstuffed emo tragedy bracketed by ponderous voiceover about demons and monsters and how all of us have the weapons within us to defeat them. Or something like that. Sucker Punch is such a molten-hot mess that whatever Important Message it's supposed to convey ends up hopelessly garbled by the time the end credits roll.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.