Archive 1997-2016
Astrophysicists Jane Foster (Natalie Portman), Erik Selvig (Stellan Skarsgård) and Darcy Lewis (Kat Dennings) just want to observe atmospheric phenomena in remote New Mexico when they nearly run over a man who seems to have materialized in the midst of a massive, stormy aurora display.
The conceit Kick-Ass purported to explore with the character of Hit Girl was what would happen if a real-life expert soldier raised a daughter in his own lethal image. Subtract all the comic-book referencing and hyperbole, hone in on Hit Girl and Pa, and you have Joe Wright’s Hanna, an engrossing but aimless jumble of ideas and conventions with a new spin on the well-worn movie cliché of genetic augmentation for combat purposes.
Dissociative escapism. Those two words sum up Sucker Punch from its earliest conception to its closing twist. They also, very likely, sum up the wishful sentiments of everyone who sat through it on the opening weekend.
Even if Hamlet exists in one’s mind only as a distant high school memory, Tom Stoppard’s Rosencrantz and Guildenstern are Dead isn’t your typical, fourth-period English class refresher course.