Critically panned, as they say, this film appears to be a lot like marmite (sorry non-brits). You don't like it or you do like it, and the persons expressing the latter are clearly in the minority. Rotten tomatoes gives it a 23%. The general feeling appears to be is that Mr Snyder dropped the ball he had been so skilfully juggling with Watchmen, 300 and that film about the owls in a well so deep no prince-temporarily-imprisoned-in-anuran-form could possibly retrieve it for him.
I understand the criticisms - it was fairly hard to follow and required a lot of guesswork. I was force to wonder whether Babydoll's retreats into deeper levels of less bleak reality represented psychotic breaks due to intensive therapy, or some sort of wish-fulfilling depersonalisation during traumatic sexual encounters. Some things I guessed must have been wrong. For instance, when the faux-Russian psychiatrist is questioning the brothel owner about Babydoll's readiness to dance, I wondered if she was truly questioning the correctness having her lobotomised - this can't be correct as she wasn't aware the request had been put in. However, compared to say, Primer, a film I honestly cannot watch without a physics textbook in front of me, it was a walk in an extremely linear park. I read one reviewer complaining it was a whole two hours long. Try watching Tarkovsky's Stalker. Or the original Solaris. Then tell me about long. If you still have a sense of self.
The film certainly exploits and objectifies women. I see short skirts, I see girls fighting in heels, a thing I can assure you is near impossible. However, as this reviewer points out;
http://blogs.indiewire.com/spout/archives/sucker_punch_debate/ apart from one character who I was mentally referring to as "Chuck Norris the Guardian Angel" the film exploits and objectifies men - characterising them all as vile abusive rapists, indiscriminately killing girls in a way that would satisfy even the most misoandristic hairy-armpitted stereotypical uberfeminist that the status quo was being represented. Not all women are pretty innocent girls, we know this. Not all men are violent rapists. We know this. Realism clearly is not the order of the day here. You can tell by the dragons. This is a brightly coloured, katana-wielding, FPS-perspective-shooting, orc-fighting comic book in film form. In one particularly fun semester of my undergraduate degree, I studied mental health provision between the nineteenth and twentieth century. It would be difficult to find a more appropriate era and situation to set your fable of female oppression. The contrast between spangly orc-fighting fantasies and the monochrome One-Flew-Over-The-Cuckoo's nest reality is as jarring as the bullets Blue nonchalantly plants in the back of the heads of the two supporting least-fleshed-out girl characters.
Another reviewer complained that Babydoll and Sweet Pea were not Ellen Ripleys or Sarah Connors. Of course not. Are these girls mothers? With the exception of Sweet Pea's protectiveness of her sister (and it is this that makes her the one character most like a Ripley or Connor), are they exhibiting the desperate strength of a parent's desire to protect her children from monsters? No. As the film states at the end, like the concentration camp survivor who realised the last thing he had control over was how he felt about his situation, all these girls have is themselves and all they can protect, or choose not to protect, is themselves, and each other. There is no escaping the helplessness of their situation , except by escape or self-sacrifice. Not even in the deepest levels of Babydoll's fantasies. The dialogue is horrendous, and delivered inexpertly in places. Yet, somehow this fits, these oppressed and imprisoned girls parroting parodies of gung-ho cliches and platitudes of sisterhood. The girls' bravado is as empty as the faceless robots and hollow as the Steam-Bosche's heads, as easily exposed as Blondie's "secret". Even in the deepest levels of her giant-Tengu-Oni-fighting fantasies helplessness breaks through - the mother dragon rages over her slain offspring, the bomb still goes off taking Rocket with it.
This is reality - sometimes we cannot win, sometimes not everyone gets out alive. Sometimes the Alien Queen bursts out of your stomach as you fall into the boiling lead. Some of us will succumb to the bloody trochar of unfeeling procedure, unmitigated by hollow happy ending of a discovered forgery and the lobotomised smile of a bought chance (I like to think the nice gentleman was sent to the electric chair, by the way). Empowerment =/= winning.
And then sometimes the mysterious bus driver risks his job by claiming to the police that you've been on the bus since Harford. At the same time, this is still fantasy.
For the court's further consideration, your honour, there were a selection of particularly nice bottoms in this film. In the end, isn't that what truly matters?