Directed by:
Paul Thomas AndersonScreenplay:
Paul Thomas AndersonCinematography:
Robert ElswitComposer:
Jon BrionCast:
Adam Sandler, Emily Watson, Philip Seymour Hoffman, Luis Guzmán, Mary Lynn Rajskub, Robert Smigel, David Stevens, Jonathan Loughran, Don McManus (more)VOD (4)
Plots(1)
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. (official distributor synopsis)
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Reviews (7)
Magnolia tore me up emotionally and Boogie Nights entertained me fantastically. But Punch-Drunk Love – regardless of how innovatively and imaginatively it was directed – didn’t move me at all. It’s a spectacularly stylized void, both emotionally and intellectually.
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Paul Thomas Anderson and I probably won't ever be close friends. I don't enjoy his films for their pace or concept. Adam Sandler shows that he can act, and I'm glad for that, but even with his presence, I couldn't quite get into the film. The long, tedious shots just didn't engage me, even though at times I thought the story was unfolding quite unexpectedly.
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I love P.T. Anderson's films and consider him a genius, but this is a step backwards. A brilliant directorial, genre-unclassifiable flick, but the plot is absolutely nothing, without any emotions or deeper message. There are a few promisingly conceived motifs, when I thought "this could be interesting", but before he can elaborate on them Anderson suddenly cuts them off, doesn't finish them and leaves a strange aftertaste on the tongue of the film gourmet. I'm not saying it has to work that way for other viewers, but it did for me, and with the beginning of the closing credits I realized that the film didn't really give me anything at all, although I love this kind of cinematic escapades. PS: I wasn't expecting it, but Sandler was excellent and his irresistible declaration of love in Hawaii made me laugh out loud.
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Paul Thomas Anderson in to film what like Picasso is to painting, disjointed, abstract, and hard to decipher. Most conventional viewers won't understand him, and a large number of seasoned viewers won't accept him for various reasons, because he is not classical enough and regrettably has the unfortunate quality that his films always seem to have something "more", but that's not always true, which is exactly the case here. Sandler is excellent.
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For P.T. Anderson an unusually short running time, but the enormous potential of this film has been exploited to the hilt. This is no longer "just" (it must be added that this "just" will forever remain a mystery to most filmmakers) a brilliant script supported by extremely imaginative direction, but one of the most impressive films I have ever seen, one with extraordinary charm and enormous heart. In the moments when Barry (Adam Sandler not only surprises but plays his role superbly) suppresses a huge amount of anger, helplessness, and revulsion, I felt a little (a lot) like that – it just blew me away because there is so much feeling and emotion in it I couldn't even manage to "live out" three times :))
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