by Steve Habrat
After all the gun smoke had cleared and the credits crawled across the screen, it became crystal clear to me how Christopher Nolan settled on Zack Snyder for the reboot of Superman: Snyder simply showed him Sucker Punch. There’s absolutely no doubt in my mind that Nolan gushed over it either. Sucker Punch is a trippy puzzler that sends you stumbling from the theater to debate what the hell just happened with your friends, which is quite similar to what Nolan did with his towering Inception. But where Inception pulled off it’s elusiveness with refined sophistication, Sucker Punch takes the dirty, dusty road where dragons swoop from above, girls in fishnets wield 50 calibers, WWI zombie German soldiers leap from trenches, and our heroes bop around in a WWII bomber. And that is just naming a few of the oddities that Snyder lobbed into his obvious pet project. I’m sure by this point you’ve seen the other reviews of Sucker Punch and, to use a term from Mr. Obama, the film has taken quite a “shellacking.” Sure it’s big, loud, and completely overblown, but I oddly found myself enjoying the madness. What actually appalls me is that Battle: Los Angeles, a film that makes no attempt to be about anything except blowing everything up, actually received better reviews than this film did! ARE YOU KIDDING ME?!?! Did we see the same movie?
Maybe I was rooting for Snyder to actually pull off the impossible. Everyone under the sun has seen the unruly trailer. Snyder seemed like he wanted to shove every possible genre of film into one film to make one hulking masterpiece. One that encompasses everything from the kung-fu films to epic medieval fantasies. I truly found Sucker Punch to be a noble, and at times, refreshing attempt at it even if it was beginning to show signs of collapsing on itself. The film also has had a slight hypnotic affect over me in the sense that I am confident that there is more to this particular film than first meets the eye. The first time seems to be a shock and awe campaign to pin you to your seat but the more my mind wanders back and evaluates the little touches, the more I’m lured into wanting to uncover more about it.
I won’t dive to deeply into the plot of the film because some of it is up to you to piece together, but the film follows the starry-eyed, pig-tailed Babydoll (played by Emily Browning), who is admitted into a mental institution by her unhinged stepfather after she accidentally shoots her baby sister. It’s here that she falls under the care of the at times menacing and at times motherly but always vampy Dr. Gorski (played by Carla Gugino). Behind the walls of the institition, she embraces her new life in a brothel and learns to dance for the seedy men that come to drool over the young girls. Babydoll soon joins forces with the tough-as-nails leader Sweet Pea (played by Abbie Cornish), Sweet Pea’s gung-ho little sister Rocket (played by Jenna Malone), the uneasy “pilot” Amber (played by Jamie Chung), and the big guns specialist Blondie (played by Vanessa Hudgens). The gang rapidly starts plotting an escape from the institution/brothel and through their wildly untamed imaginations, envision elaborate dream-missions to find the supplies they need to break out of the big house.
While the film marvelously finds a perfect balance between the hectic dream worlds and the rotting walls of the institution, the film tries to cram so much in that points are a little to overpowering. There is an incredibly inspired sequence that takes place on a WWI battle field complete with zombified German soldiers wearing ghastly gasmasks, biplanes falling in flaming ruin from the sky, earth shaking explosions and a lofty android walker with a rabbit face that Amber maneuvers into a outrageously bad ass death machine. It’s a truly breathtaking action sequence that is worth the trip to see the movie alone. Sadly, the film stumbles when it ventures into the realm of medieval fantasy in a war sequence that smashes WWII together with the Lord of the Rings. I give it credit for being atypical but it’s shockingly monotonous and lacking in any sort of looming danger. This leads me to my next compliant, which is the fact that all the girls are magically scrappy superheroes. There is never any concrete justification and we are supposed to just embrace it. One sequence that is especially irritating is when Babydoll confronts three giant samurais. She flips through the air so repeatedly that I almost wanted to shout “ENOUGH ALREADY! WE GET IT!”
Ultimately, Sucker Punch overcomes the obstacles and still manages to be engaging. I still found myself consumed by much of it and the writing, although uneven, is never less than interesting. The dialogue is good but not great and the premise alone never lost me. The performances’ by the young actresses are finely tuned and convincing. I was extremely worried that they would be wooden. The standout is without question the wounded Rocket. She kicks ass while nursing the burden of a broken heart. I actually breathed a huge sigh of relief that the film never descended into a perverse fantasy for Snyder. While the girls are adorned in fishnets and lingerie, the film is surprisingly tame. We never get a glimpse of the burlesque dance sequences and instead are substituted with the dream world. An even bigger relief is that the film counters Snyder’s fixation with masculine heroes. I enjoyed the girl power feel that he explores this time around. It’s more substantial than his homoerotic bloodbath 300. It still comes in third to his colorful Dawn of the Dead remake and spacey adaptation of graphic novel juggernaut Watchmen. On top of it, Snyder further refines his coarse camerawork and his fluid montages of slow motion into real time. It all flows so gorgeously and it’s impossible not to eat it all up.
The aspect that truly wounds Sucker Punch is the ending where, like Watchmen, it crams all of it’s “profound” ideas in a brushed over climax that feels curiously unsatisfying. This is where the film truly flat lines. It piles on nonsensically cryptic monologues on top of some obvious visual symbolism. The film is convinced that it is a fine wine that will be savored as the taste sticks in your mouth. Unfortunately, it’s just a high-end, calorie-loaded beer that is surprisingly tasty in the beginning. A taste that you and your buddies exclaim about for the first few sips but when you reach the bottom of the bottle, you just gulp down the last drops to finish it. It wasn’t as refreshing as the first few half but it wasn’t impossible to polish off. You’ll oddly find yourself wanting to experience it all again to peel back some more layers and it will make for some good conversation in the long run.
Sucker Punch is now available on Blu-ray and DVD.
by Steve Habrat
I’ll admit that I was itching to see The Green Hornet the second I heard the buzz (pun intended) about it. I have vague memories of catching the short lived 1966 television series with martial arts legend Bruce Lee as the ass kicking sidekick Kato and Van Williams as the Green Hornet himself Britt Reid. I remember that old theme that still every once and a great while makes its way into pop-culture, whether it is sampled in rap songs or Quentin Tarantino’s Kill Bill. I remember those masked avengers riding around in their tricked out Black Beauty. In fact, I think I was drawn to it because of the similarities to Batman. They both feature a masked millionaire and his sidekick who has come from nothing. They ride around in cool cars. They fight crime in really cool outfits (Although, if GQ ever did a best-dressed superhero list, I think the Green Hornet and Kato may take it from the Dark Knight and the Boy Wonder.). But mostly, they were vigilantes that operated outside of the law. And it was precisely the anti-hero set up that lured me in. Hell, Val Williams and Bruce Lee even had cameos in the popular Adam West Batman television show. While I’m too young to be overly familiar with where the Green Hornet got his start, which was a radio show from the 1930s, I can still hold on to the hope that the film has had some form of respect for him and stayed true to his origins.
Enter the writing team of Seth Rogen and Evan Goldberg, who also penned the hilarious coming of age story Superbad and whimsical director Michel Gondry, of Eternal Sunshine of the Spotless Mind and Science of Sleep fame. Intrigued yet? You should be. Even if you are unfamiliar with the Green Hornet and Kato, there is still the promise of some truly unique visuals and some stinging humor right? You bet there is, and there is also some bone crunching action, lively car chases, eccentric villains, smoking hot secretaries, really cool cars, and a painfully hilarious cameo from James Franco. Somewhere in there, there’s the plot of playboy Britt Reid (Played by Rogen), the–What else?–slacker son of a newspaper publisher who takes over The Daily Sentinel in the wake of his father’s mysterious death. On the seedier side of town, a murderous villain Chudnofsky (Played by the brilliant Oscar winner Christoph Waltz), who looks like a super villain from the seventies, is slowly trying to control all the crime in gangland Los Angeles. The day after his father’s funeral, Britt wakes up to his morning coffee and to his horror, his coffee is dreadful. Plus, it lacks the elegant and decorative leaf that usually adorns the top. Britt storms through the estate looking for the person who usually makes his morning coffee. That person, he discovers, is Kato (Played by a seriously good Jay Chou), who is also his father’s mechanic. After a night of drunken shenanigans, Britt and Kato decide they are going to become masked vigilantes and take on crime throughout the city. Then the Looney Tunes meets 300 style action kicks into high gear.
By this point, be it from reading what I have described to you or seeing the energetic trailers, you know if this is the type of film for you. If you’re a fan of Rogen’s haw-haw stoner humor or a superhero aficionado, you were probably already in line and have already seen The Green Hornet. If you’re not a fan of either, I can’t really do much to convince you to see it. I suffer from my own fanboy demons, so naturally I jumped at the opportunity to see it opening weekend. Now, I’ll also admit I walked out of the theater with a big grin slapped across my face. The film is cartoonish mayhem at it’s absolute finest. And Gondry can’t resist spicing the film up with his trademark surreal flare. The action scenes are inspired, resembling something out of a video game (Kato hones in on all of the baddies weapons that they are wielding). Rogen never snaps out of his along-for-the-ride shtick and some will find that a hard hurdle to jump over. But it’s Chou’s Kato who’s the real star of the film and even through broken English; you can’t help but love him. Whether he is kicking and punching through countless hoards of Chudnofsky’s henchmen or whipping up countless Black Beauties, Chou is always entrancing. And what about Oscar winner Waltz? Well he seems to be lapping up his new career in Hollywood with demented merriment. I’ll tell you this much about his character, just wait until the climatic showdown. He’ll have you laughing and gripping the edge of your seat. And we can’t forget to mention Cameron Diaz, who seemed to be a last minute addition to make the fanboys drool. She isn’t given much to do but fill Reid and Kato in on some of the criminal activity that is taking place in LA. And how does Rogen fare as a superhero? He pulls it off just fine, even if Chou is the real action star here. Rogen mostly falls back on spewing out silly one-liners and hiding behind Kato. Don’t let that fool you, as Rogen does get his chance to play the hero in a show stopping fight scene at the climax. I’ll confess that it is welcome in a genre that has become dominated by brooding heroes who take themselves a little too seriously. But then again, it’s what we have pushed for isn’t it? Heroes that are more emotionally complex, solemn, and that operate within the world we are familiar with. But The Green Hornet’s main objective is to throw all of that out the window and invite us to just have a campy good time.
Every party has its moments where the fun lags and The Green Hornet does suffer from a few lagging moments. The plot of the film is uneven at points and the more twists that they try to throw into the mix, the more cluttered the plot actually becomes. The film works better when it stays on the straight and narrow path. The entire movie is played up like a psychedelic madcap comedy and trying to give it more depth than it deserves slightly spoils the fun. The opening of the film doesn’t provide much of a back-story to the relationship between Reid and his father. They simply don’t get along and Reid’s father doesn’t understand him. That’s about all we get we are supposed to just accept it. The film is just under the two-hour mark and it leaves us asking why they didn’t go another ten minutes and make their troubled relationship a little bit meatier. And the 3D? It reeks of an afterthought and I will say that it’s the first 3D movie that actually began to bother my eyes.
Through it all, The Green Hornet works because it seems like everyone in it is having a blast. I had as much fun watching it, as I’m sure they did making it. The fact of the matter is that the Green Hornet is a third string superhero. He always has been and will continue to be. His film does not rank among the best of the superhero genre and I don’t think anyone under the sun expected it to run with Spider-Man 2, The Dark Knight, Kick-Ass, Iron Man, or Watchmen. It also certainly does not rank with the worst of them (I’m referring to you Fantastic Four, Ghost Rider, Punisher and Wolverine!). I went in with high hopes but, due to some of the seething reviews, I had my doubts. I emerged smiling and completely satisfied. Plus, in these early months of the year where Hollywood dumps all of its crap, don’t expect much in the way of solid entertainment anytime soon. The Green Hornet is the best we will get for a while and after sitting through all the serious award contenders, it was utterly refreshing. The Green Hornet is pure fanboy euphoria. Grade: B
The Green Hornet is now available on Blu-ray, 3D Blu-ray, and DVD.