Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens and Jamie Chung, with Oscar Issac, Carla Gugino, Jon Hamm and Scott Glenn.
Wrongly institutionalized after an accidental killing, a young girl known only as “Baby Doll” is slated for lobotomy. She’s nuts. She creates her own reality. She had nothing doing will denying her lecherous, drunken foster uncle getting cut out of the will. Nothing.
Baby Doll isn’t taking this lying down (so to speak), and naturally and aims to escape her prison as well as take a bunch of her fellow young female inmates along for the ride. But a ride it is, especially when Baby and her buddies have to dance their way out and in of her mental phantasms.
So here we are.
This was supposed to be the 100th Installment here at Good Ol’ RIORI. Truth be told, what with me manipulating the structure of the so-called “volumes” here, we passed that landmark, like, fifty Installments ago. Weren’t you keeping track? I barely was. The snowdrift of mediocre movies I scrambled through has left my head a tad hazy. Too much underrated exposure to Aaron Eckhart and/or Scarlett Johansson I guess.
Instead, I’m opting to review and overhaul the first 17 Installments—the so-called Volume 1 of RIORI—for your viewing pleasure and mine own edification. The first volume consisted of posts on FaceBook. Basically extended screeds until I got wise and created a WordPress account to little fanfare. At first. I just cut-and-pasted my crap onto WP pages and figured that’s that, and went on to clamber up higher cliffs.
However, it always chafed me that the first “volume” here was a such a raw and naive attempt. The posts were too short, sophomoric and responding to the NOW culture that social media cultivates. In short, I was dumb and in a hurry. Why? Like all avid, would-be blogging Hemingways I had a message to spout and an ego to feed. And let’s face facts, FaceBook posts and blog posts are the same thing: ego massage. We all think our innermost opinions are an essential, Wikipedia-esque vitality the ‘Net needs. Hence the proliferation of funny cat videos on YouTube. I enjoy them too. Give in to the guilt.
At time of this pressing, a few months back on the Cooking Channel, food geek and scientist Alton Brown wisely decided to escort himself away from the role of game show host to get back into the kitchen. Being a cook, his Good Eats series was de riguer viewing through the aughts. The show was a treat, even if you weren’t some aspiring foodie (read: culinary snob in training). Brown’s witty discection about cooking worked on a Mr Wizard cum Kids In The Hall level that was entertaining as well as educational. Good TV overall, as well as scarce. Bam!
The aforementioned few months back involved Brown in “reloading” episodes of his original show. Correcting mistakes, tweaking formulas, adding new recipes and cleaning out his decade old erlenmyers stained with glace. That’s what I’m gonna do here: flesh out the bare bones that made this blog such a limping success. I think it’ll serve both as a revue of those heady days back in 2013 and an intro to all my new FaceBook followers to the glorious pile of cowpies I’ve had to scoop up over the last 6 years. Remember social media: fluff the ego.
So now, a hundred-plus Installments under my belt, and have since learned that deeper delving into a mediocre movie oft requires more than two paragraphs and a slump home, I’m gonna upgrade those lowly first 17 Installments. Polish them, groom them, apply mascara and hopefully expound upon my grand experiment. This time employing spellcheck and be naked of hubris.
Well, just mostly naked.
Here we go and here we try…
The Rant (2013)…
Horror master Stephen King once wrote in his Bare Bones memoir that one of his biggest and earliest fears was losing your mind. Going insane. Having the cheese fall off one’s cracker. He did admit that the fear was viewed through naive eyes. One does not lose their minds in one fail swoop, like on an episode of the Twilight Zone or something. King addressed the process of going mad brilliantly in his classic, The Shining. As it became with Jack Torrence, psychosis happens across a continuum, develops like a malign dream, is a sickness. Insanity is not like breaking a limb, sudden and immediate. It’s deliberate and slow. To quote Riff-Raff, “Madness takes it toll.”
Apparently no one told writer/director Zack Snyder this.
It seems after Snyder’s sudden and runaway success with his 300 he earned carte blanche to indulge his cinematic id. Shoot a movie that popped from his fevered imagination fully-formed like Zeus’ siblings from Cronos’ cloven skull. One with even more spectacle than the crimson Battle of Thermopylae could deliver. A phantasmagoria of dragons, ninjas, robots, fighter planes and of course, girls with guns. The hallucinations of a diseased mind hyped up on truck stop speed and espresso.
Behold the opus that is Sucker Punch.
The title alone says something. An unfair blow to the gut. That’s more or less what this film delivers. It meets the standard of poor reputation, sad box office draw, critical lambasting and naturally going way, way over budget. So begins the inaugural installment of RIORI. Hooray!
Rant Redux (2019)…
When I re-read this pastiche, I was actually kinda surprised my economy of words summed up pretty well the essence of Snyder’s fever dream. I guess now that sometimes less is more, especially the face of the f*cking huge undertaking Sucker Punch must’ve been. After watching it again, the word big is an apt term for this mind-bending, very entertaining fiasco. Punch was the classic example of form following function, But the actual function was mired in such popcorn existentialism that I must’ve left the masses blind. Here we are, a bit budget popcorn flick that requires further examination. Wrong flavor for this kind of phantasmagoria.
Classic qualifications for a “cult film.” We’ll see if that prediction bears fruit in 2021. Maybe 2029 to be safe.
But yeah, I found that if you read between the stilted lines there was some very real feminist navel-gazing going on there. Not a bad thing. I found upon repeated views that it made the mess more palatable. It is odd to actually dissect a crazy, fantasy actioner like Punch as if deciphering the Dead Sea Scrolls. Okay, maybe not that intense, but to simultaneously ask an audience to go along with this disjointed tale (which may be a manifestation of a diseased mind in abject fear for their sanity. Or not) as well as look for the loose nuts and bolts might be too much of a task for yer average Twizzler gobbler, like me.
The key term for Punch is existential. I swallowed wheelbarrow loads of Sartre and Kierkegaard back in college to recognize the bad faith that resonates in all of us, even in the movies. For the uninformed, the term “bad faith” was coined by none other that Jean-Paul himself; only this very moment matters. What’s past is past and gone. What may be, may be, but unattainable. Only NOW matters, and there is a very thick vein of NOW bleeding throughout Punch. Babydoll’s fate is moments away, but does what went down—no matter how tragic—means nothing now, and what might happen is an unattainable fever dream. If you doubt me, examine the editing (if you can with that salt and fake butter on your lashes).
I feel it is now time to admit that I’ve presently mastered the art of spewing bile and bullsh*t in equal doses. See what a difference six years make? You’re welcome.
At its heart, I think Punch is indeed akin to an existentialist play, one that navel gazes about being and nothingness, what it means to be human and its frailty and the price of true freedom. I know, heady sh*t from a Snyder film, but if you take the longview virtually all of Snyder’s movies question the human condition and what exactly is that anyway? 300, Watchmen, Man Of Steel, even his version of Dawn Of The Dead is about survival as well as maintaining one’s individualism against oppression (okay, Dracula 2000 barely scratched at that, but it did lead to sharper, not necessarily better things). There’s that metaphor careening through Snyder’s output, for good or for ill. It’s only his Punch that such a vision truly gels. And oy, it can be a headache to follow.
Punch is unique in its execution, ignoring the crazy, over-the-top, sumptuously rendered CGI action sequences. No. After watching and considering (and reconsidering) the movie’s flow, Punch tells a non-linear story. But instead of flashing forward and backward again through time (a la Quantum Leap), we go sideways. Billy Pilgrim has become unstuck in time (sub Babydoll for Billy). The story does trudge along a straight line, but with truly demented road stops along the way. This direction is not as difficult to follow as, say, The Fountain was executed. But once Punch diverges, you have to follow the context. Quickly. Even moreso than Aronofsky’s celestial mindf*ck.
The ozone trips that take place in Babydoll’s psyche/dance routines are all bristling with dire individualism. Seeking freedom, seeking self. Yeah, yeah. Lemme crawls out of my colon and face the sunshine. To be blunt, Snyder was exploring the “feminine mystique” from a guy’s POV. With lotsa booms and lotsa bullets. Lemme explain this in plain terms:
Back in the 1960s, writer and nascent feminist Betty Friedan penned the social examination The Feminine Mystique, questioning why the postwar homemaking women were so dissatisfied with their comfortable, modern convenience lives. Friedan called it “the problem that has no name.” Gender roles on the other shoes, usually wingtips: “What do women want?!?” Even modern women could answer that, but they knew that something was missing in their Better Homes And Gardens idyll lives.
Fast forward 50 years, director Snyder thought he had an answer—maybe a theory not unlike Friedan’s, but with more CGI aggression—and wanted to send a message/spin to arrested development, popcorn-munching Middle American movie goers that not only do women want to display themselves as strong, capable, assertive people but also heroes trying to escape social oppression based on centuries of patriarchal mores and control.
I’m back in my rear again, right? Too bad. You read it, you can’t unread it.
Punch is an over-the-top James Cameron movie, steeped in Snyder’s lack of subtlety. I cite Cameron, that old taskmaster, as a signature of his movies he always has a strong female protagonist. Always. Either some innocent who rises to the occasion or a tough-as-nails female who is still female. Think of his take on Ripley in Aliens, and her foil Vasquez. Or Sarah Connor in The Terminator and its sequel; she’s gets to be yin and yang. Of cast-iron bitch Mary Elizabeth Mastrantonio in The Abyss. Or even funny lady Jamie Lee Curtis in True Lies. Snyder had a statement to make in Punch, but was bleary-eyed in his execution. Cameron is like a knife. Snyder is like a stapler: I’ll pin a few things up here and there, you tell me what pages made sense. Snyder leaves it up to you…and maybe himself.
This is all a good thing. Really. I’m not bashing Snyder here (not this time) for his subtle-as-neon execution, script or production. Not at all. Punch was very entertaining, and that’s the ultimate goal of all movies. Shoving a erstwhile, CGI manifesto of a cinematic feminine mystique…well, I figure it would confuse most casual audiences. Not to sound any more high-minded than that I have already, but I studied wads of existentialist philosophy in college so I suppose I was inadvertently pre-programmed to enjoy Punch at the outset, even if I didn’t know that at the time. I mean, duh, females can be action heroes while still maintaining mystique. I’m a guy. I can’t really get that, but I can respect that. Especiallly with awesome action scenes and rather pithy moments of sexy self-examination. Punch overall is a deconstructionist “girls with guns” melodrama. Snug clothes around a healthy female form is also a spoonful of sugar.
Sorry, I’m a guy. Deal with it, ladies of various strengths.
Rent it or relent it? I stand by my original verdict: rent it. I even own a copy of Punch in my hard library, and has fast became a go-to flick when I need an action fix, like with the original Blade or The Matrix. It’s a guilty pleasure and I’m wearing a sh*t-eating grin proudly.
We continue reconsidering director Zack Snyder’s muse with his take on Watchmen. Think what you may, but do acknowledge he got that project out of Production Hell and into cinematic flesh, warts and all.
For what that’s worth.