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.
WHAT'S IT ABOUT?
Jennifer Check and Anita "Needy" Lesnicky are lifelong best friends and high school students in tiny Devil's Kettle Minnesota. Needy is the practical bookish counterpart to small-town sexpot cheerleader Jennifer who controls most everyone around her — Needy included — with knowing relish using her hypnotic good looks. After Jennifer and Needy escape a grisly fire at the local dive bar Jennifer is whisked away in a creeper van by the band that was playing there despite Needy's pleas not to. In a "sell your soul for rock and roll"-style move the fame-hungry indie rockers Low Shoulder kill Jennifer in an occult virgin sacrifice ceremony which goes awry because Jennifer isn't one. After being left for dead Jennifer shows up at Needy's house covered in blood spewing black bile and grinning wickedly.
The next day amidst the fire tragedy aftermath Devil's Kettle's star football player is found disemboweled and half-eaten in the woods adjacent to the school. Jennifer of course did it and after the vixen kills a sweet emo boy she confesses to Needy (after a too-brief girl-on-girl makeout session complete with heavy tongue close-ups) that the botched sacrifice turned her into a demon and that she becomes happier and more beautiful — and thus deadlier — after she feasts on the blood of horny high school boys. Needy does some research in the occult section of the high school library and discovers her best friend is indeed a pawn of the devil. Needy warns her boyfriend Chip to watch out for Jennifer and consequently finds herself covered in bile with Chip dead in her arms at the prom because he doesn't. Then she seeks revenge.
WHO'S IN IT?
The ever enjoyable Amanda Seyfried takes the lead as plain jane Needy and Johnny Simmons is her sweet doting boyfriend Chip. Adam Brody doing a spot-on Brandon Flowers impression is the killer front man of Low Shoulder. Amy Sedaris makes a too-brief cameo as Needy's mom and Juno's dad J.K. Simmons is a high school teacher with an unexplained hook for a hand. Megan Fox is in it too.
Diablo Cody's script is smart funny and infinitely more interesting than the typical teen slasher swill. The movie revels in its gory moments without being gratuitous and employs a healthy amount of sex without coming off like it's pandering to horny teens. Rather Jennifer's Body is the perfect template for the incomparably hot Megan Fox to use her looks as a plot-forwarding mechanism. This is a professionally signficant departure from her eye candy turns in the Transformers movies and lets Fox prove that she can actually act. There's no one else in Hollywood right now better suited to this role. Fox's performance is unhinged and charming and she makes good use of all the Diablo Cody-isms ("You need a mani bad. You should find a Chinese chick to buff your situation.") that devil-may-care Jennifer gets to utter. The love/hate best friend relationship is interesting and there's a load of good-girl-gone-wrong catharsis in Seyfried's revenge-fueled rampage. Cody and director Karyn Kusama are adept in skillfully if a bit condescendingly creating a convincing depiction of a small Midwestern town which serves as the perfect ultra-real backdrop for the story.
Cody's unique style adds the perfect quirk factor to what could otherwise be run-of-the-mill cinematic garbage.The Cody-isms however sometimes come off as cloying when they aren't being uttered by Fox. Also hopeful Fox worshippers might be disappointed that the sexually radiant actress despite her character's penchant for using sex to lure her victims doesn't actually bare anything that necessitates the film's R-rating.
With its surprising plot twists a snarky bff vs. bff subplot and Cody's flair for linguistics Jennifer's Body is a smart horror flick for anyone who enjoys jolly gore or Megan Fox in a mini-skirt.