“This critical paroxysm against Sucker Punch is quite possibly the most colossal collective misreading of satire since Paul Verhoeven was accused of being a fascist for Starship Troopers. With this film, critics are making the same mistake of confusing depiction for endorsement, but more importantly, they seem continually befuddled by Snyder’s manipulation of one of the most powerful cornerstones of mainstream cinema—the fetishized image.” Read the rest of my analysis at The House Next Door: Sucker Punch and the Fetishized Image

(And if you don’t have the time, the Film School Thesis Statement Generator says: “The masking of narrative in Sucker Punch conforms to pre-Oedipal guilt.” Generator? More like mind reader)