Re: Sucker Punch

That's still the fantasy world. We never get back to the "real" world until the end.

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I thought on it recently and I think I've realized how they could've fixed this movie with a bit of restructuring.

I think from the outset the biggest thing that breaks the movie is that the dream sequences are so disconnected and never have any consequences (no one dies), so you're not invested in them at all. Now early on in the movie, this makes sense from a story perspective because it wouldn't make sense for the girls to get killed in real life at that point, since it would pretty much have put a halt to the whole escape plan. The train sequence actually introduces stakes, since we see Rocket die, but the problem is its far too late in the movie, and only happens at the end of the last dream sequence.

And yet, it occurred to me that the one place where they legitimately could've used the dream thing and had characters getting killed off is the escape from the asylum itself, since you could represent a character getting caught/killed during the escape as a death in the fantasy sequence, and you could cut between reality/fantasy in those instances and the connection would actually make sense, unlike the random dancing metaphor.

What they should've done is gotten rid of one of the fantasy sequences from the middle of the movie, since they're just essentially fetch quests and serve no story function. Keep the samurai stuff, and lose either the WW1 or the middle earth set pieces. Do the train sequence and end it the same way, that's good because it establishes stakes. Then, instead of having Mr. Blue randomly kill off 3 of the main characters, just go straight into the part where baby doll stabs Mr. Blue and we start the escape. Now the escape itself should be the final big fantasy sequence. Our remaining girls do everything they can to escape the asylum, using the items they've already acquired, and we get an amazing corresponding fantasy sequence to close the movie out. The fantasy sequence would also incorporate all the items that had already been acquired, but in a fantasy context, and we'd get the same 3 girls killed off, but during the course of the fantasy/escape sequence itself.

Thus we'd actually get a final awesome action sequence that we cared about and had real stakes, and you can end the movie the same way with the sacrifice thing (if you really have to go there Snyder), but minus the retarded voice over.

There, movie fixed, learn screenwriting hollywood.

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Re: Sucker Punch

I think the best fate this movie can receive is a strong cult following. It's a shame that it's not better, because if Snyder was trying to send a message and the audience got that, then it could have been great. Just hope that Snyder gets better with his writing over time.

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33 (edited by BigDamnArtist 2013-02-12 22:44:52)

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TL,DR.

Jim looks at movies like movies. Teague looks at movies like case studies.

Fair enough, yes?

EDIT:

On reflection, I realized I kinda lost the point I was trying to make in my desire to be brief.

Basically, what I mean is that. On some sort of basic level you guys look at movies and view movies in very different ways...like in a "from the ground up" sort of difference. Jim seems to watch a movie and base it solely on what it brings to the table and then casts judgement. Teague watches a movie and sees the glimmers of light poking through the cement wall, and extrapolates them out into what the movie could have been with a few minor changes, and compares that movie to the one that was delivered.

FYI...in this instance I would consider myself closer to a Teague on this spectrum tongue

IDK...just kinda what struck me as an outside observer reading that.

ZangrethorDigital.ca

Re: Sucker Punch

Yeah. That was an imposingly long post.

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35 (edited by BigDamnArtist 2013-02-12 22:52:05)

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meh. I've seen worse.

Just thinking...I really want to add one thing in response to what Jim says at the very end.

I don't think the issue is that the creative critcism is just that "It needed another writer.", that's kind of missing the point. The creative crit comes from understanding WHY it needed another writer and WHY another writer would have been better for THIS project.

Which sure, you can level the claim that another writer would have been better at every movie ever. But if you can actually lay out the argument for every movie made, about why and how 'so and so' would have made it better, you are gonna learn a whole hell of a lot along the way.

Which....I think...is Teagues point.

ZangrethorDigital.ca

Re: Sucker Punch

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ZangrethorDigital.ca

Re: Sucker Punch

I like Sucker Punch...a lot. Just sayin'.

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