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Sucker Punch (2011)

PG-13 | | Action, Fantasy | 25 March 2011 (USA)
Trailer
2:34 | Trailer

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A young girl is institutionalized by her abusive stepfather, retreating to an alternative reality as a coping strategy, envisioning a plan to help her escape.

Director:

Zack Snyder

Writers:

Zack Snyder (screenplay), Steve Shibuya (screenplay) | 1 more credit »
Reviews
Popularity
556 ( 205)
1 win & 10 nominations. See more awards »

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Photos

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Cast

Cast overview, first billed only:
Emily Browning ... Babydoll
Abbie Cornish ... Sweet Pea
Jena Malone ... Rocket
Vanessa Hudgens ... Blondie
Jamie Chung ... Amber
Carla Gugino ... Dr. Vera Gorski
Oscar Isaac ... Blue Jones
Jon Hamm ... High Roller / Doctor
Scott Glenn ... Wise Man
Richard Cetrone ... CJ
Gerard Plunkett ... Stepfather
Malcolm Scott ... The Cook
Ron Selmour ... Danforth
A.C. Peterson ... Mayor / Lighter Orderly (as AC Peterson)
Revard Dufresne Revard Dufresne ... Big Boss Thug / Orderly #3
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Storyline

A young girl (Baby Doll) is locked away in a mental asylum by her abusive stepfather where she will undergo a lobotomy in five days' time. Faced with unimaginable odds, she retreats to a fantastical world in her imagination where she and four other female inmates at the asylum, plot to escape the facility. The lines between reality and fantasy blur as Baby Doll and her four companions, as well as a mysterious guide, fight to retrieve the five items they need that will allow them to break free from their captors before it's too late... Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

A mind bending vision of reality from the director of Watchmen & 300. See more »

Genres:

Action | Fantasy

Motion Picture Rating (MPAA)

Rated PG-13 for thematic material involving sexuality, violence and combat sequences, and for language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | Canada

Language:

English | German

Release Date:

25 March 2011 (USA) See more »

Also Known As:

Sucker Punch: The IMAX Experience See more »

Filming Locations:

British Columbia, Canada See more »

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Box Office

Budget:

$82,000,000 (estimated)

Opening Weekend USA:

$19,058,199, 27 March 2011, Wide Release

Gross USA:

$36,392,502, 26 May 2011

Cumulative Worldwide Gross:

$89,792,502, 31 December 2011
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (extended cut)

Sound Mix:

Dolby Digital | DTS | SDDS

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Scott Glenn and Zack Snyder had been friends for years before working together on this film. See more »

Goofs

While walking down the steps before starting the samurai battle, Baby Doll is wearing heels (at least 3 or 4 inches) however during the actual combat scenes, she's very clearly wearing flats. When she "fights" the last samurai, she's back to wearing heels. See more »

Quotes

[first lines]
Sweet Pea: Everyone has an Angel. A Guardian who watches over us. We can't know what form they'll take. One day, old man. Next day, little girl. But don't let appearances fool you, they can be as fierce as any dragon. Yet they're not here to fight our battles, but to whisper from our heart. Reminding that it's us. Its everyone of us who holds power over the world we create.
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Crazy Credits

The Warner Bros and Legendary Pictures logos appear on a stage curtain, with the curtain rising to reveal each logo. A brief narrative precedes the Warner Bros logo appearing. See more »

Alternate Versions

There is an extended cut that is 18 minutes longer than the theatrical cut only available on Blu-ray. See more »

Connections

Referenced in Slice and Dice: The Slasher Film Forever (2012) See more »

Soundtracks

Love Is the Drug
Written by Bryan Ferry and Andy Mackay (as Andrew Mackay)
Produced by Marius De Vries and Tyler Bates
Performed by Carla Gugino and Oscar Isaac
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Frequently Asked Questions

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User Reviews

 
Incredible visuals; imagery that will stay etched in your mind for a long time
23 March 2011 | by movedoutSee all my reviews

"Sucker Punch," the latest barrage on the senses from writer-director Zack Snyder ("300", "Watchmen") is his first film that's based on his own source material. And it proves to be quite stunning definition of pop filmmaking. In a triumphant marriage of style and tone, Snyder has created his own "Kill Bill" by going deep down into the rabbit hole. A glorious pastiche of colour, CGI and kinesis, "Sucker Punch" even through its obvious flaws, has set a new bar for graphic storytelling that attempts to transplant the purity of imagination onto the cinema screen.

Essentially cohering around a simple premise -- hot chicks kicking ass and taking names, the film's bravura opening charts Baby Doll's (Emily Browning) institutionalisation by a wicked stepfather after her mother's death and her introduction to the asylum where damaged young women are sent to be kept away from society. She meets the people-in-charge, Blue (Oscar Isaac) and Dr. Gorski (Carla Gugino) as well as the other girls in the institute: Rocket (Jena Malone) and her sister Sweet Pea (Abbie Cornish), Amber (Jamie Chung) and Blondie (Vanessa Hudgens).

The story that follows Baby Doll reveals a larger canvas of a clever narrative conceit that coincides three realities together ("Inception" comparisons, tread lightly); the first being the asylum, the second is a burlesque brothel run by Blue and trained by Gorski and the final and most resplendent one is Baby Doll's hyper reverie focused on destroying the forces of evil -- be it shogun titans, zombie Nazis or killer androids. The darker the reality preceding it, the deeper and more risky the wormhole of fantasies go. There is a real sense, despite its tremendous parade of visual set-pieces that Snyder wanted a narrative strong enough to endure the weight of spectacle, and in many respects he has. He uses the age-old device of character quests to propel the plot, peppering it with familiar consequences until he doesn't. The flow culminates in an intriguing final act that sets it a mark higher than anyone would have expected, or even needed from a film that already proudly wears its stripes as pure escapist entertainment.

Snyder goes the way of Tarantino in appropriating and amalgamating artistic and stylistic influences from the most conspicuous of genres and mediums. Within the real world or whatever the relative equivalent of what exists in this film's dark and twisty tone, the film uses templates in the vein of sexploitation female prison grind-house features from the 60s and 70s like "Love Camp 7", "99 Women", "Caged Heat" and the grandmother of them all, 1950's "Caged". As the film progresses into its action-oriented enterprises, it quickly recalls the dizzying array of cut-scenes from video-games and punk anime-style design in how it encompasses the digital environment. Snyder's thematic goal is to situate the idea of imagination as a coping mechanism for terror, a concept seen recently in "Pan's Labyrinth" and "Tideland". The landscape of the mind is uniquely realised here by Snyder, who etches a remarkable amount of detail into each CGI frame, an hyperbolised celebration of artifice and invention that is at once magnificent and exhilarating as it is compelling and spellbinding.

Werner Herzog once posited that the dearth of new and unique imagery that do not reflect the times we live in will be the death of civilisation. If anything, "Sucker Punch" truly defines the generation of filmmaking we exist in -- a sophisticated and passionate emblem that delivers an overload of sugar high through the ideals of creating and maintaining a creative medley of pop-culture influences, bridged together with keen commercial sensibilities. Suddenly, Snyder holding on to the helms of the next Superman film makes more sense than it ever did.


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