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Punch-Drunk Love 2002 |
Review by Jonathan Cornwell |
Directed by Paul Thomas Anderson
R, 89 min. (strong language, sexual dialogue) |
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Starring: Adam Sandler, Emily Watson, Philip Seymour Hoffman, Luis Guzman, Mary Lynn Rajskub
Producers: Paul Thomas Anderson, Daniel Lupi, Joanne Sellar
Screenplay: Paul Thomas Anderson
Distributor: Columbia Pictures
Released: 10/11/02 (Limited), 10/18/02 (Wide) |
Rating:
 (out of ) |
Any time you prepare to view a Paul Thomas Anderson film, you have no idea what to expect. His distinct style - one of
chaos, harmony, and metaphorical messages - has made him one of the best young directors in Hollywood. In Hard Eight,
Anderson tests the limits of the noir thriller with an interesting character study. Then, in Boogie Nights, he presents the
rise and fall of a porn star in an unforgiving business. Finally, in his masterpiece, Magnolia, he combines all elements of
storytelling and character arcs to portray a sense of surreal imagination and serendipity with his vividly defined characters.
Now, with Punch-Drunk Love, Anderson takes aim at the dark comedy, and brilliantly casts an actor, Adam Sandler, whose
own comedic antics and childish banter have given way to a performance that sheds light on his mysterious personality.
Although another solid effort from Anderson, this is Sandler's showcase film, and his terrific performance has opened doors
for some more serious dramatic work in the near future.
Sandler has usually played characters that seemingly have the maturity level of a child amongst adult friends and
work environments. His silly antics and irritatingly juvenile sounds weren't funny, they were just stupid. But what he
failed to accomplish in efforts such as Happy Gilmore, Big Daddy, or the recent dud Mr. Deeds, here his quiet rage boils
over to violent, uncontrollable outbursts of pent-up anger. Punch-Drunk Love has allowed him the freedom to cut loose
and let things rip. As a man troubled by constant needling and attention, his desire to be left alone is frighteningly apparent
through tantrums of frustration. This is a man you wouldn't want to meet on a bad day.
Sandler plays Barry Egan, a man who sells toiletries out of a wharehouse in Los Angeles, who has serious emotional issues.
Constantly badgered by seven sisters searching for the perfect wife for him, Barry finds solace in catching things that the
average person ignores. Case in point, he notices a frequent flyer mile promotion flaw that allows a consumer to buy
enough product to never have to pay for a flight again. When Barry meets one of his sister's friends, Lena (Emily Watson),
he's smitten with her and vice versa, and when Lena goes to Hawaii on a business trip, Barry decides he must follow her.
Meanwhile, a phone-sex girl is determined to rob Barry of his money after his one-night call in a moment of weakness. Now,
a furniture store owner (Philip Seymour Hoffman) who owns the phone-sex company has sent some ruffions to rough up
Barry. Through all of this Barry is teetering on the edge of sanity.
Anderson uses many of the same techniques he used in his other films, including bizarre set pieces that defy logic and
confuse the viewer as to what exactly he's trying to say. In this film, he uses a harmonium on the side of the street to
divert the audience's attention long enough to introduce yet another plot thread. He surrounds his picture with romantic
elements while mixing in a cacophony of disjointed music and visual effects to further develop a sensation of chaos.
Anderson has called Punch-Drunk Love "an art film with Adam Sandler," but it becomes the perfect match for actor
and material, successfully blending disturbing characters with strange occurrences.
Because Punch-Drunk Love is an odd viewing experience, some will inevitably be uncomfortable with Anderson's directorial
style. These same complaints were also prevalent with his previous films, and yet they were successful. Anderson is
like an acquired taste, and once you've grown to appreciate his vision, you can't get enough. His films are so wondrous
in their originality, it's hard to go back to your average cineplex fare afterwards. At the very least, one can discover the true talents
of an actor who has been released from his shackles, here in all his complicated glory. Punch-Drunk Love offers a freedom
that most films could only hope for.
© 2002 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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