Metacritic reviews

A wonderfully wild provocation - an imperfect, overlong, intemperate and utterly absorbing romp through the id that I wouldn't have missed for the world.

Browning has wildly expressive eyes and body language, but she turns wooden when delivering Snyder and Steve Shibuya's alternately purple and stilted banter. Like the film, she seems to regard plot and dialogue as necessary evils.

Certain to create a gaping divide between generational and aesthetic camps, Sucker Punch is a largely grim and unpleasant display of technical wizardry wrapped around a story that purports to be inspirational.

Like Quentin Tarantino, Snyder is unapologetic about his influences -- the trashier the better -- though he's far less skilled in the art of pastiche.

His (Snyder) mash-up set pieces ("Call of Duty" meets "Castlevania," etc.) blend into so-awesome-they're-awful slo-mo monotony, and the awful sisterhood stuff in between makes you anticipate the action as though waiting for the bus.

Hands-down the most nightmarishly awful film of the year.

Punch manages to cram more slow motion into its first few minutes than a season of NFL highlights, all of "Inception" and every one of those NBC promos where the casts of whatever failing police procedural walk menacingly towards the camera.

The most epic miscalculation since the Golden Summer of M. Night Shyamalan. An unerotic unthrilling erotic thriller in the video game mold, Sucker Punch is "Last Airbender" with bustiers.

There is nothing here to enjoy, beyond the tiny satisfaction in noting that the movie lives up to its name.

Snyder must have known in preproduction that his greasy collection of near-rape fantasies and violent revenge scenarios disguised as a female-empowerment fairy tale wasn't going to satisfy anyone but himself.