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.
There comes a time in every filmmaker’s career when it suddenly feels like they’re coasting. They’ve made a name for themselves had some success and challenged themselves in one way or another so now it’s time to take it easy do what they do best and give the people what they want. Perhaps they’re taking a break before they try to do something big again or maybe they’re paying off the debt of a previous flop but the one thing they’re not doing is taking any risks. It’s the same-old same-old and while it might please the fans the real admirers probably won’t be pleased. It happens more often than we’d like to admit but unfortunately it does happen.
This is the case with Jean-Pierre Jeunet’s Micmacs the latest from the director who gave us Amelie Delicatessen and City of Lost Children (the latter two co-directed with Marc Caro). Those films earned him comparisons to Terry Gilliam and Tim Burton but Jeunet proved he had a unique and witty cinematic style that he could call his own and with the international popularity of Amelie audiences everywhere took notice granting this very talented director a lot of leeway to make films in his own style. With his next film 2004’s A Very Long Engagement he decided to stray from the style of his previous films and attempt something more dramatic and though the film was generally well-received Jeunet decided to go back to the well of whimsy with Micmacs with very mixed results. While casual fans should be pleased anyone interested in watching a filmmaker grow artistically (as Jeunet had been) will shrug and leave disappointed.
Like his fellow fantasists Gilliam and Burton Jeunet’s detractors have often described him as a stylist first and storyteller second. I’ve never subscribed to that theory until now — I always felt a connection to his offbeat characters and stories — but with Micmacs he either has failed to help us make that connection or he simply doesn’t care enough himself. Part of the problem is that the film hangs on the flimsiest of plotlines: Homeless man Dany Boon seeks revenge on the feuding weapons manufacturers responsible for the landmine that killed his parents and the bullet in his head (a result a drive-by shooting) by teaming up with a rag-tag group of other homeless people all of them with their own set of special skills. A picture like this should hook us in from the very start or it’s never going to get off the ground and Micmacs’ opening already suggests that Jeunet isn’t breaking any new ground here; whimsy for whimsy’s sake will only yield limited results especially without a real story in place. Although it’s filled with a number of the filmmaker’s patented set pieces Micmacs is never as engaging as it would like to be. Numerous sequences that resemble Rube Goldberg meets Warner Brothers cartoons are definitely amusing to watch and offer some trademark Jeunet imagery but there’s no reason to care about what we’re seeing. Boon’s plight should be a moving one but for Jeunet it feels more like an excuse to shoot his regular co-star Dominique Pinon out of a giant cannon.
Pinon’s presence represents another problem with Micmacs: although the film is very well cast almost none of these characters register with the audience. Boon’s homeless “family” is filled with faces out of the Jeunet central casting book but we never really learn who they are nor do we understand why they follow Boon’s character through the lengths that they do. Just because they’re “characters” doesn’t really give them character to portray and though the film is energetically performed by all (with special recognition going to the charming Marie-Julie Baup) they’re just figures for Jeunet’s giant Parisian play set. There’s no question that there are certain pleasures to be found in Micmacs; it looks wonderful with some great production design and cinematography by Tetsuo Nagata and Jeunet’s use of classic Max Steiner music definitely adds to the fun. But these enjoyments are really surface-level only and the film doesn’t have enough weight to hold them up. I certainly wanted to like this one more than I did and I’m sure many of you will disagree with my assessment and enjoy yourselves anyway but Micmacs ultimately isn’t the best example of what Jean-Pierre Jeunet is capable of.
In true straightforward comic-book style TMNT starts with a brief backstory (without the laborious explanation on why four turtles and a rat become human-like in the first place) and then launches into the heart of the movie. After the defeat of their old arch nemesis The Shredder the Turtles—fun-lovin’ Michelangelo (Mikey Kelly) tech guru Donatello (Mitchell Whitfield) hotheaded Raphael (Nolan North) and pragmatic leader Leonardo (James Arnold Taylor)--have grown apart as a family. While Leo is off honing his craft the turtles no longer fight crime--except Raphael who still fights crime under the pseudonym Nightwatcher. Struggling to keep them together is their rat sensei Master Splinter (the late Mako). But strange things are brewing. Tech-industrialist Max Winters (Patrick Stewart) is amassing an army of ancient monsters to apparently take over the world. With the help of old allies April O'Neil (Sarah Michelle Gellar) and Casey Jones (Chris Evans) the Turtles finally come together as brothers to fight the good fight and once again face the mysterious Foot Clan who have put their own ninja skills behind Winters' endeavors. As opposed to hiring just A-list actors TMNT is a nice eclectic mix of veteran voice-over artists who give the Turtles their voices and regular actors such as Gellar Stewart and Evans. Crouching Tiger Hidden Dragon’s Ziyi Zhang also gets in on the action providing the voice of the Foot Clan leader Karai who was once an enemy of the Turtles but now sees the value in what they do. Of course there isn’t a Robin Williams or Ben Stiller to laugh with but Kelly is pretty funny as Michelangelo who has had to resort to entertaining kids at birthday parties as “Cowabunga Carl ” a clown-for-hire in a “fake” turtle suit. It will all depend on whether those ninja-fightin’ pizza-eatin’ giant turtles still have a monetary appeal but methinks a new TMNT movie franchise has been born. The comic book was created in 1984 by Peter Laird and Kevin Eastman as a spoof to the superhero stories and quickly took off into merchandising heaven with a toy license and then a television series. The original 1990 live-action movie used state-of-the-art animatronics but somehow felt static and fake. Since the last TMNT movie in 1993 the whole Turtle phenomenon has sort of fallen off the radar at least in the U.S. so the time was ripe for a renovation. Using the innovative CGI we know and love this new TMNT--created by a team of animators from California and Hong Kong under the watchful direction of Kevin Munroe--gives the Turtles not to mention all the otherworldly monsters they have to fight a realistic look and feel. With this kind of freedom the film can focus on the action which is the best part of the TMNT lore. Though the demographics may skew male ages 8-11 (as well as those 8-to-11-year-old boys who loved it back in the day and are now grown men) TMNT is just your basic supercharged animated fun.