Sucker Punch (2011)

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Terence Gavish

2 comments

  • Senor Zoidbergo 2 years ago
    464 of 503 people found the following review helpful
    5.0 out of 5 stars
    Sucker Punch Extended Cut vs. Theatrical Cut Differences, June 29, 2011
    By 
    Senor Zoidbergo (Washington D.C.) –
    (VINE VOICE)
      

    This review is from: Sucker Punch [Blu-ray] (Blu-ray)

    The extended cut of Sucker Punch adds approximately 17 minutes and 45 seconds of additional footage, and is R-rated. The extended cut is much darker than the theatrical cut; while not necessarily being more visually explicit, previously implied suggestions are now explicitly overt. The violence and action scenes have also been extended as well, with two re-inserted battle sequences, one with the orcs at the castle (arterial spurts of green orc blood), and the other with the German World War I zombies.

    I don’t think I quite understand Snyder’s multi-layered metaphorical comparisons between the brothel, asylum, and Baby Doll’s fantasy worlds, but I will say that the movie (especially the action sequences) are visually stunning, and the colors beautifully contrasted. Credit especially to the actresses for their proficient firearms handling (but where exactly did they store all those extra magazines I wonder?). However, it would be superficial to suggest that Sucker Punch is only about girls in anime costumes fighting monsters in fantasy worlds, though that is certainly an interpretation shared by many critics who panned the movie.

    Here are the main differences between the Extended Cut and Theatrical Cut; NOTE, SPOILERS FOLLOW, so continue reading at your own risk.

    (1) Baby Doll shoots at the stepfather a second time (as compared to a single time in the theatrical cut), resulting in some CG blood and an arm bullet wound, which the stepfather grabs at.

    (2) When Sweet Pea first meets Baby Doll (with Blue and the priest), Sweet Pea says, “the priest brought you here from the orphanage to lose your virginity, right?”. Then Blue says, “The High Roller is coming in 5 days to do a little flower picking..” There is no such comment about deflowering in the theatrical cut.

    (3) Rocket takes Baby Doll on an extended tour of the nightclub, showing her a backstage area where clients are not allowed. She shows Baby Doll the cleaning closet where new girls are assigned cleaning duties. They pass by the kitchen where the chef makes a lewd face at the girls, who ignore him, and walk onwards.

    (4) Full dance number of “Love is a Drug” as performed by Blue & Vera. It’s quite extravagant.

    (5) The cook attacks Rocket more violently and physically in the extended cut.

    (6) The backstage scene where Baby Doll explains her plans is extended. Vera writes the order of the dancers, with Sweet Pea performing first. Rocket and Sweet Pea then sit down, and Sweet Pea tells Rocket that she won’t help Baby Doll.

    (7) In the World War I scene, the Wiseman briefs the girls for a little longer. The map they are to capture is a map of the trenches and troop locations, the map will be sent via courier by zeppelin. The Wiseman then asks Amber how she likes the mech, to which Amber replies in the affirmative. The Extended Cut includes a great shot of the girls slowly walking out of the fog into no man’s land, and additional shots of zombie German troops rushing out of their respective trenches. Amber shoots down several attack German fighters before herself flying skyward, and Blondie grabs her Daewoo K3 and mows down a horde of attacking zombies, littering the battlefield with their corpses. There is additional hand-to-hand and (hatchet-to-bayonet vis a vis Blondie) combat in the trenches, and Baby Doll fights the Zombie commander initially in an extended sword fight. I’m glad they extended the WWI sequence, it looks fantastic.

    (8) Vera tries to cheer up Baby Doll pre-performance with a quote by Mark Twain about illusions.

    (9) The orc/castle/knight siege scene has been heavily extended, most prominently featuring a new scene of the girls jumping into the courtyard, and decimating the orcs using firearms and edged weapons, while performing various acrobatic maneuvers. Green orc blood spray across the screen. Additional shot of knights trying to break through the gate with a tree trunk. Extended combat scene of girls versus knights, and slow-motion scene of Blondie firing the side machine gun.

    (10) Blue tells Baby Doll that he will “pop that smile right off of her face”, whereas in the theatrical cut, he falters without completing the sentence.

    (11) The sequence where Amber is killed shows Blue’s gun being fired twice, rather than the slight vibration in the wine glass. Blue shoots Blondie when she’s on the ground an additional time. Nothing graphic is shown.

    (12) Blue attacks Baby Doll for a longer period of time (and more physically) in the extended cut, when backstage.

    (13) After Baby Doll is knocked unconscious, Sweet Pea steals a white dress while on the lam.

    (14) During the last, infamous scene between the High Roller and Baby Doll, white gloved hands undress Baby Doll down to her skivvies. High Roller and Baby Doll talk, and High Roller doesn’t just…

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  • jezebelle lee 2 years ago
    50 of 55 people found the following review helpful
    5.0 out of 5 stars
    Fierce & Trippy – Not Just a Male Fantasy (I’m a Girl), September 2, 2013
    By 
    jezebelle lee (san francisco, ca) –

    This review is from: Sucker Punch (2011) (Amazon Video)
    I loved this movie when it came out and saw it in the theater. Just rewatched it with my sister and still think it’s great. I was trying to understand why the critics almost universally panned it. I dig films that play with the frame, get all meta on you and this is one of them. The director sort of intentionally misleads the audience, disrupts the normal conventions of linear narrative and clear-cut roles. So the suckerpunch of the title really is, in one way, directed at the audience. And I think the critics just balked at the arrogance of this move by the director. By not delivering a completely feel-good piece of fluff – which may have been what they were thinking they were settling down to enjoy, what with the extremely smooth visuals. Instead, the film induces a sense of ambivalence, almost complicity, in the viewer as we find that we cannot simply turn off our critical faculties to indulge in a guilt-free gaze at the pretty women. Rather, we are challenged to consider their control and objectification – within the storyline, and by extension, the film industry and society as a whole. So I find it interesting that so many critics lambasted this movie as just that – some sort of soft porn anime-inspired female exploitation. When in my mind, that is exactly what the film is commenting on. It’s like the critics didn’t get it, took it at face value, or just knee-jerked reacted to their own discomfort at the implications of the film, its weird mixing of genres and glamorous aesthetics with essentially gritty realities about misogyny and a culture where the lines between abuse and pleasure are often blurred with hypocrisy and a leering eye. Or maybe they were just too uptight and puritanical to allow themselves to take seriously a storyline that intermixed a corrupt insane asylum, an oppressive brothel, and an over the top world reminiscent of a thrilling fantasy video game. As a woman myself, I found the topics presented within each level of the storyline to be intriguing, exhilarating, and emotionally resonant. And the reviews out there which imply that this is simply exploitation of girls actually deeply offend me. One, for presuming to stand for the protection of women, in that condescending way that those within that camp tend to do. And secondly, for assuming that watching fit young women in killer outfits kicking tail is only something enjoyable to perverted men, and that such a scenario is so outrageously absurd as to be insulting (this is the movies, for heaven’s sake, there is no reality but what we make of it and what we are willing to accept into our mindset – do you really think most of those men in action films could actually do the things they pretend to be able to do?). I know one day this film will be truly redeemed and appreciated, and we’ll be able to catch midnight shows as a cult favorite. Forget the critics and watch this movie!

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