BLAIR WOYNARSKI
Arts Writer

What is Sucker Punch?  It is the latest offering from Zack Snyder, the divisive director noted for his stylish comic book adaptations, 300 and Watchmen, and also the largely-ignored animated epic Legend of the Guardians.

I’m a Snyder fan and have been anticipating this release since the first trailers last fall. But the critical response is, once again, divided. It has been called feminist and misogynistic, brainless and indecipherable, imaginative and uninspired.

The plot that one might discern from the previews is “hot chicks with guns,” but it is actually a bit more complex than that. The main character, Baby Doll, has been put in a 1950s-era mental institution by her abusive stepfather, who has arranged to have her lobotomized in five days’ time.

But reality gets little face time in this movie. Most of it takes place in a fantasy world where the female patients believe they are performers in a bordello run by the cold-blooded Blue (actually a scheming and abusive orderly). Baby Doll gathers together a group of women, Sweet Pea, Rocket, Blondie and Amber, and concocts an escape plan. But the main attraction of the movie falls on the second fantasy, where Baby Doll interprets the simple tasks they have to accomplish for their plan as epic fantasy quests that transport us into huge action scenes featuring swords, guns, monsters and German zombies.

This is a movie that was probably doomed to disappoint because no one is quite sure what it is or what they want it to be. In truth, it lies somewhere between a psychodrama masquerading as an action movie and an action movie with pretensions toward psychodrama.

It doesn’t completely succeed in either respect, but it has also suffered a battering by the studio. When it went into production, the producers pushed for a PG-13 rating, which resulted in changes to the original script. Then when it was finally presented to the MPAA, it was still slapped with an R, which resulted in a staggering 18 minutes being cut before release. A lower rating means a wider audience and, ostensibly, more money. But looking at the disappointing opening gross, one has to wonder if it would have been better just to leave it the way it was originally.

Visually, Sucker Punch is remarkable. The action scenes that punctuate the narrative are well-paced and enthralling. The effects are stunning, stylized enough to play up the fantasy world, but still with enough realism to avoid distraction. The scenes flow extremely well considering how much footage had to be cut.

While Snyder can capture the epic scope of a fantasy battlefield, he captures the intimate moments of human suffering with the same grandeur. The opening scene is astounding. Like the opening credits of Watchmen, it delivers all the exposition necessary to lead up to Baby Doll’s arrival at the asylum without a single spoken word. It is a parade of visceral and grey-washed images that horrify and tantalize.

It’s good that Snyder does so well with wordless scenes, because where words are involved, he doesn’t fare quite so well. Baby Doll’s first exposure to her fantasy world is dragged down by clunky dialogue from the obligatory Wise Man, sending her on her “quest.” The effect could have easily been achieved with fewer words and greater emotional impact.

The ordinary conversation between the girls is less than nuanced, and the apparent revelation at the film’s climax is accompanied by questionable dialogue that comes out of nowhere.

Oscar Isaac is, at least, delightfully slick as the cutthroat Blue, and even though the female leads do not deliver anything outstanding, they all have their shining moments. Although it has its faults, overall, the story works to support the picture being presented.

The dual fantasy is a fun concept, and after you spend a few minutes getting your bearings, it’s easy to follow. In order to appreciate the movie, you (like Baby Doll) have to be able to detach from the world and get entirely swept up in fantasy, but at the same time remember there is a fight for survival permeating everything.

Don’t think about it too deeply, but don’t take it at face value, either. It’s a movie of contradictions.

On the subject of contradictions, can one consider Sucker Punch a feminist movie when the main character fights monsters in high heels and a sexy schoolgirl outfit? My feeling is yes. The main characters have all been oppressed by a patriarchal system, as can be gathered from the pet names they all have.

As they tread deeper into fantasy, they assert more of their own power, going from sexually abused inmates to fashionable courtesans to undefeatable warriors. The plot involves breaking free from an institution that does not consider them people. Whether the characters’ obvious sexual appeal cheapens that is a matter of individual preference.

This movie will not appeal to everyone. It suffers from some mechanical acting and an occasionally-tedious script. Characters are also not given much chance to develop on their own. But whatever its failings, it’s a great ride, and I use that word carefully. Its main draw is the thrill and spectacle of its actions scenes. While you’re watching, be receptive to everything it throws at you, but don’t dwell on any one thing for too long. If you do all of that, it should be a great time.