Punch-Drunk Love

Paul Thomas Anderson's Punch-Drunk Love is a fascinating film. Perhaps 2002's best movie - and one of the best drama/romantic-comedies to ever hit the silver screen.

PT Anderson is an absolute genius. A talented and master film-maker. Boogie Nights and Magnolia, two of Anderson's previous films, were absolutely stunning. Boogie Nights, in particular, was a complete masterpiece. And Punch-Drunk Love is no exception, another great piece of film-making by what is quickly becoming one of the world's top Directors. I can't wait for whatever he does next.

Also, it's difficult to overstate the performance of Adam Sandler. I'm confident this will go down in history as his best work. Ironically, I thought I'd never see this movie because of Sandler starring in it. (I ONLY watched it because of my respect for PT Anderson - and I still waited 3 years to see it!). I enjoy most of Sandler's non-romantic comedies, but I couldn't even imagine him in a romantic movie, I thought he would be horrible. I couldn't have been more wrong. I wasn't prepared for such a great performance, as he stole the show from the opening scene. I can't remember ever being more surprised with the lead actor in a movie. He was simply great, a truly terrific performance.

On the flip side, Emily Watson, as the caring Lena, was wonderful as well. I've got the feeling we will be seeing much more of her, as she had a breakout performance here in PDL. I thought at first that she almost looked too beautiful to put up with the antics of someone like Sandler's character (as she would be in high demand with the males), but then we see the quirky side of her as well, and it all comes together. Great touch.

I recommend this movie to anyone over the age of 25. If you're a teenager who's hoping for a few laughs from Sandler, you're going to be gravely disappointed. Buy the movie, store it in your closet, and pull it out when you reach 30 - and you'll love it! And please, don't let "romantic comedy" scare you (as it does me). I almost REFUSE to watch romantic comedies, but this one is much different. Romance and comedy surely aren't the first things that come to mind when I think of this film. It's a drama full of tension and embarrassment. It's an uplifting, yet shocking movie. To the intellectual mind, I can't recommend it enough.

Thank you for reading!...

JD

Stellar in every part, i like how every review ive read of this film interprets it in a different way, in my opinion it perfectly portrays the autism experience :p

This is a great movie (my opinion) and here's why...it shows two characters falling in love and acting stupid. They don't have all the right things to say to each other; they get scared; they walk away and wish they had said something, anything other than what they did/didn't say; they get embarrassed, they giggle and snort...and the list goes on.

If you don't like this movie, it's OK. I think this is the kind of movie that is sorta just sitting there, waiting for the "right" people to see it and nod their heads and smile and say, yes, this is how it is. It's quiet and doesn't scream for people to pay attention to it; it's just there. It doesn't make any promises and it doesn't need to.

The storyline may veer from "real" life, but these two characters pretty much get it--what people do when they are very much "in love" with someone.

Genre- _comedy/ romance_ I tried watching it twice earlier, but stopped at the 5 minute mark. I willed myself this time to overcome my initial inhibition and was rewarded by a stunning work by Sandler and by a truly original script by PT Anderson.

1. Amongst Sandler's most non Sandler like performances, right up there with his best non typical work such as _Uncut Gems_ & _Reign over me_.

2. Sandler is gutsy to have done this risky role, which requires him to be rage- prone, socially awkward romantic at such a youngish age, back in 2001.

3. Paul Thomas Anderson used to be a near genius, with classics such as _Magnolia, Boogie Nights, There will be Blood, Hard Eight_ etc. This early effort of his is right alongside his later gems.

We've come to expect a lot from Paul Thomas Anderson. After his twin masterpieces "Boogie Nights" and "Magnolia", not to mention the sure-handed and satisfying "Hard Eight", we knew he was a filmmaker of skill and magic. So when it was announced that the next PTA film would be a 90-minute romantic comedy starring (Gasp!) Adam Sandler, I was, for one, not worried. This man had taken Mark Wahlberg and turned him into someone we could be proud to watch onscreen. He cast icon Tom Cruise, gave him the character of Frank "T.J." Mackey, and directed the actor to one of the most repulsive, offensive, and inspired performances of the "Top Gun" star's career. So, I was pretty confident in his ability to handle the star of "Little Nicky". But, boy, I still wasn't prepared for what I saw. Sandler just wasn't good, he was INCREDIBLE. I couldn't believe my eyes-here was the man behind "Eight Crazy Nights" creating a completely realized, utterly human character with a studied, nuanced performance. Many have commented on the fact that Barry Egan, Sandler's character, is not that different from his previous incarnations. Socially akward and prone to explosive violence, Barry might just be the key to explainging Sandler's Billy Madison or Happy Gilmore. The character helps shine a light on the inner torment of those man-children.

The plot is a bit more complicated than your usual romantic-comedy fair. First off, it's really not a comedy. Second off, the two major players-Sandler and Emily Watson as the beautiful and mysterious Lena Leonard-both have quirks and tension that ordinary movie characters who fall in love don't in movies today. Barry has been terribly scarred (perhaps irreperably) by the constant torment and abuse of his seven sisters. There are several scenes where he bursts into destructive rages for no real reason-to sum it up, this guy has problems. Lena seems to have some of the same hurt simmering under her, but she controls it and accepts Barry for who he is, eventually coming to a stage where she understands him better than anyone truly ever has. Much of "Punch-Drunk Love"'s story is how Egan manages to regain control of himself and experience truly human feelings for the first time. Lena is his salvation-through his devotion to her he saves himself.

The film's other specifics are a bizarre, but extremely original mix of details. Barry is a toilet-plunger salesman. He one day wanders onto a loophole in a snack-foods sponsored contest that would allow him to get enough frequent flier miles to never have to pay for a plane ticket again. First, however, is the nasty business with a small-time porn entrepeneur in Utah who is trying to extort a large sum of money from Barry, using the company's "Four Blonde Brothers" to threaten the (for a time) hapless Egan. The film is so utterly free that to reveal how these disparate elements come together would ruin the movie. Much of the joy of "Punch-Drunk Love" is that you never truly know where the movie is going to go next.

The performances are uniformly excellent. Philip Seymour Hoffman is "the heavy", but he puts a small line of tragedy in his character. Dean Trumbell seems fierce, but a telling look at his "empire" reveals he is all bark and no bite. The always-great Luis Guzman is Sandler's well-wishing co-worker, Lance, who is constantly supportive of Barry despite his doubts about what is really going on inside his boss's head. And Emily Watson is appropriately fascinating and quietly alluring as Lena, who drops her car off one day and admits the next she did it just to meet Barry.

The film might seem weird and violent, but this is truly one of the sweetest movies I have seen at a long time. At its core, "PDL" is decent, honest, and beautiful. It is reminiscent of "Fear and Loathing in Las Vegas", which, despite its rampant drug use and other disturbing subject matter, was a film that had a heart of gold. One of the best of 2002, "Punch-Drunk Love" will be seen in the future as a shining moment for all involved. Here's to hoping it will also be seen as the beginning of Adam Sandler's serious film career.