L’ultima fatica di Zack Snyder (300, Watchman) era parsa sin dai trailer, una baracconata senza fine, peggiorata da un uso distorto dell’elemento femminista.
Il film, uscito in contemporanea in tutto il mondo, ha ricevuto dai critici americani una solenne stroncatura.
A.O.Scott sul New York Times:
You could go to see “Sucker Punch” this weekend — a lot of people probably will, and a few may even admit as much back at the office on Monday — or you could try to make it yourself, which might be more fun, though not necessarily cheaper. Here’s what you will need: a bunch of video-game platforms; DVDs of “Shutter Island,” “Kill Bill,” “Burlesque” and “Shrek”; some back issues of Maxim; a large bag of crystal meth; and around $100 million. Your imagination will take care of the rest.
But there is nothing here to enjoy, beyond the tiny satisfaction in noting that the movie lives up to its name.
Peter Debruge su Variety riassume:
The French call it “homage,” but Zack Snyder prefers the term “mash-up,” which is no doubt a more appropriate way to describe the cacophonous, half-digested mass of pop-culture influences that make up “Sucker Punch,” a crass women’s penitentiary picture reconceived for today’s manga- and vidgame-savvy crowd. Misleadingly positioned as female empowerment despite clearly having been hatched as fantasy fodder for 13-year-old guys, this sensory-overload exercise tarts up six actresses in service of various “Heavy Metal”-style scenarios — a setup likely to sucker fanboys while leaving those who crave humanity and good old-fashioned storytelling feeling like cavemen who’ve stumbled into Times Square.
Todd McCarthy su The Hollywood Reporter si sofferma sulla prevedibile ripetitività della storia:
These blazing, slashing, swooping, diving, roaring, screaming, demolishing battles, which employ a variety of cool aircraft and the most exotic weapons imaginable, are the meat of Sucker Punch and are choreographed in an epic manner only possible with advanced CGI. The explosions, spearings, decapitations and all-out mayhem, much of it executed with the sort of elegant moves and delayed aerial suspension pioneered in The Matrix, will delight fans who crave this sort of thing from movies above all else.
But the dreamlike or imaginary context in which these sequences are presented automatically drains them of any sense of engagement; just as you can’t die in your own dreams, so, too, nothing bad can really happen to the five girls in these adventures, where the rules of engagement are anything Snyder wants them to be.
Ma il vero mistero è: cosa ci fa un’attrice come Abbie Cornish in un simile pasticcio?