It's a romantic comedy on the verge of a nervous breakdown.
Punch-Drunk Love (2002)
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Reviews Counted:35
Fresh:28
Rotten:7
Average Rating:7.4/10
Consensus: Punch-Drunk Love is weird and delightfully funny, even though Sandler essentially plays the same character he has always played in all his movies.
Rated: R [See Full Rating] for strong language including a scene of sexual dialogue
Runtime: 1 hr 35 mins
Genre: Dramas
Theatrical Release:Oct 11, 2002 Limited
Box Office: $17,791,031
Synopsis: Paul Thomas Anderson follows 1999's MAGNOLIA with the intensely compelling character study PUNCH-DRUNK LOVE. Barry Egan (Adam Sandler) is a quiet, shy, socially awkward man with an office in an... Paul Thomas Anderson follows 1999's MAGNOLIA with the intensely compelling character study PUNCH-DRUNK LOVE. Barry Egan (Adam Sandler) is a quiet, shy, socially awkward man with an office in an out-of-the-way warehouse. He is dedicated to his job as a wholesale toilet plunger salesman, he keeps a nice apartment, and he is obsessed with special offers on grocery store products. Barry's latest fixation is on frequent flier miles included with the purchase of Healthy Choice foods. Barry wears a bright blue suit, though he doesn't know why. With seven outspoken sisters, Barry is constantly being nagged, questioned, and berated. He is challenged to explain the reasons for his actions, and it eventually becomes clear that Barry cannot control his often-violent impulses, a trait which is increasingly problematic. When a beautiful woman, Lena Leonard (Emily Watson), walks into his life with an instinctive attraction to him, a nonjudgmental attitude, and unconditional love, Barry undergoes a powerful transformation. Anderson's film is a tour-de-force for which he garnered the Best Director award at Cannes 2002. Set primarily in Los Angeles and Utah, he shoots either bleak deserted spaces (apartment building hallways) or lush, exotic paradises (Hawaii). Aiming for a Technicolor look, the blue of Barry's suit in contrast with Lena's solid pinks, reds, and whites, pops off of the screen. Colorful interludes designed by visual artist Jeremy Blake offer hallucinogenic lapses from the action of the film, while the rapid percussive score by Jon Brion keeps the suspense and the emotional exasperation of the film on a constantly high level. [More]
Starring: Adam Sandler, Emily Watson, Philip Seymour Hoffman, Luis Guzman
Starring: Adam Sandler, Emily Watson, Philip Seymour Hoffman, Luis Guzman, Mary Lynn Rajskub
Director: Paul Thomas Anderson
Director: Paul Thomas Anderson
Screenwriter: Paul Thomas Anderson
Producer: Joanne Sellar, Daniel Lupi
Composer: Jon Brion
Studio: Sony Pictures Entertainment
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Reviews for Punch-Drunk Love
The journey toward redemption feels more like a cinematic experiment than a full-blown movie.
Despite its title, Punch-Drunk Love is never heavy-handed. The jabs it employs are short, carefully placed and dead-center.
[Anderson] uses a hit-or-miss aesthetic that hits often enough to keep the film entertaining even if none of it makes a lick of sense.
It's wacky. It's unpredictable. It's sure to give pause to Sandler fans and, smaller in number but every bit as dedicated, to Watson admirers too.
Director Paul Thomas Anderson hasn't reinvented Sandler; he's just allowed those of us who tired very quickly of his innocent naif shtick to see how effectively it can be put in the service of something to care about.
Everything about Punch-Drunk Love works in a Being John Malkovich sort of way save one. Sandler. When your star doesn't work, it's hard to get us to buy into the rest of a movie as unusual as this.
In Punch-Drunk Love, Adam Sandler doesn't so much discard his old persona as illuminate it, breathing life into the cardboard characters that populated his earlier films.
How odd that a tribute to a wildly theatrical presence should turn out so dull and prosaic.
It is already apparent that Punch-Drunk Love will not be everyone's cup of tea, but nonetheless Mr. Anderson has found a way to fashion a passionate romance out of the materials of postmodern chaos.
Sandler is quite winning, but he doesn't stretch so much as deepen the same character he always plays.
The film is exhilarating to watch because Sandler, liberated from the constraints of formula, reveals unexpected depths as an actor.
[Sandler] plays Barry just as he would any of the comic dolts who've made him rich but this time all the panicky sadness is out where we can see it. It's a honey of a performance: controlled, achingly human, and funny in the deepest ways.
Even if he turns around and makes Mr. Deeds 2, [Sandler] has shown that his range goes beyond mindless fisticuffs and easy laughs.
Manages to be both heartbreaking and happy, while managing to look like nothing you've ever seen before.
A happy nightmare of silly-smart movie comedy that defies category -- and challenges expectations involving Sandler and his pictures.
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