Rating: 
Summary: This was supposed to be a big breakthrough
Review: This was widely billed as Adam Sander's big break through from a his usual role as a dumb funny good hearted village idiot/bumbler (waterboy, big daddy). However hard as I tried I saw no difference from any old Adam Sandler movie. As these movies go this was as good as any but it was not different in any fundamental way. Adam Sandler played ... a dumb funny bumbling village idiot who had a good heart. If you were a fan of Sandler's you will love this movie if you hated his stuff before you will not like this one either.
Rating: 
Summary: Creepiest Romance Ever
Review: The first half of Paul Thomas Anderson's new film, "Punch-Drunk Love," is one of the most unsettling experiences I've had in a movie theater in some time.Within the opening minutes, Barry Egan, the character played by Adam Sandler, witnesses a horrific accident, in which a car spins over and comes apart, has a taxivan screech to a halt while an unseen passenger drops a harmonium onto the street in front of him, and then, while he is rescuing said harmonium from the street, is almost killed by a speeding 18-wheeler. Is it any surprise that he dashes into the warehouse where he works and peers out at the world in terror? "Punch Drunk Love" has been described as a "strange romantic comedy," as "quirky" and "eccentric." In truth, the comedy is pitch-black and the romance is as dysfunctional as in any of Anderson's movie. It's a barely lightened version of the romance between John C. Reilly and Melora Walters in "Magnolia." We see how crippled Sandler's character is, but only get hints of the traumas suffered by Emily Watson, as his counterpart, the strongest of which is that she falls for him. Sandler's Egan is such an emotional cripple that he stumbles through the world as if he is mentally challenged. This is not standard issue "Little Nicky". This is "The Waterboy" as lensed by Hitchcock, and just as horrifying. Anderson builds the tension in Egan's day, so that when he finally has an outburst at his sister's birthday party, after a scene that is emotionally nerve-wracking, we are grateful for the release. That this release is followed by uncontrolled weeping, all of which is played completely straight, both deepens our understanding of Egan and reassures our trust in the director and his star. The movie is indeed funny at times, but for all its laughs, much of the time it plays as a horror film, in the tradition of "Eraserhead." Though far more realistic in treatment, Barry Egan is a direct descendant of Henry Spencer, stumbling through a world he can barely comprehend and paying the price for every transgression. Anderson plays on our fears about family and sex, and when Egan calls a 900 number, more for company than sex (he doesn't realize he should be masturbating), it turns into his worst nightmare. The movie ends on what should be a positive note, but it's so desperate that it's hard to feel good. Despite the reviews the movie is not an Art House film, any more than Clint Eastwood's "Unforgiven" is an Art House film. It is a genre picture that steps out of the genre, intelligent, creative and confident - in other words, something apart from standard Hollywood fare. Anderson uses music, light and sound much more to his advantage than many directors, creating an emotional context that helps support his story. His use of color and light is particularly effective, as when a pay phone suddenly glows when a call is connected, or when the lovers kiss in silhouette while a parade of strangers pass behind them. This is a Paul Thomas Anderson movie starring Adam Sandler, not an Adam Sandler movie directed by P.T. Anderson. As in many of his films, Sandler explodes in fits of violence. Unlike his other films, the violence doesn't seem choreographed. In one scene, he "beats up a bathroom," and it looks like we're watching outtakes: things don't break or they break too easily, there's no build, there's no catharsis. We don't feel better after Sandler's explosions, we feel unnerved. Sandler literally runs through much of the movie, but there's nothing freeing about it. There is one moment of simple joy, when Egan dances an impromptu soft-shoe in a supermarket. It's the only time he seems at all comfortable in his own skin. This movie is Adam Sandler's "Phantom of the Opera." He pulls off the mask and shows the horror beneath. And that makes him the most sympathetic he's ever been.
Rating: 
Summary: Unexpected
Review: Watching this film, I was horrified and completely absorbed by Adam Sandler's performance as a pitiful, sweet, explosive guy whom I couldn't help but like. He bumbles his way through his tiny dull existence until one day love smashes open his world, bringing a whole new aspect to his character. This film is bizarre, which is part of its appeal -- it's nothing like anything else you've ever seen.
Rating: 
Summary: I DIDN'T PAY TO SEE IT AND STILL SHUT IT OFF
Review: I watched this film on a video for academy award consideration. Even for free I wouldn't watch it. I was ready to shut it off after ten minutes, but I love movies and am extremely adept at suspending disbelief and will give anything a chance. BUT, after 40 minutes I couldn't take anymore. Adam Sandler did a wonderful job of portraying a pathetic psychopath. However, you could not feel any sympathy for him as the character development in this film for any of the sub-characters is completely non-existent. This is a common complaint from snobs about soap opera (And I agree!) however, at least soap opera is intended to entertain and it does. It's just that no one expects it to be art. The critics that are raving over this film need to go back and re-read "The Emperor's New Clothes" If there was ever a prime example, this is it. I spent no money and sat in my sweats and I still want my 40 minutes back!
Rating:
Summary: A Dream Of A Movie
Review: Having seen the film twice, I'm left with the impression that many of the sequences were dreamt by Adam Sandler, or are at least fantasies he imagines. The unprovolked car crash that is never followed up, similar to what one might do in a dream that is interrupted by another thought; The unexplained unloading of an organ out of a checker cab, the company of which I think is extinct (Emily Watson notices the organ but not the overturned car?); The ability to play the organ, and at pecular times; The woman of his dreams who comes looking for him, asks HIM out on a date and accepts all of his faults (she could have met him at his sister's place anyway); His escape from his assailants, including his escaping a dead-end alley and the "superman" jump into the street for no reason. His hero performance defeating his assailants and protecting his girl; The "movie-like" scene in Hawaii; The confrontation with the mattress guy who can only stare and make idle immature threats (Why would Adam Sandler bring the telephone handset to Utah and when did it become detached from the phone?); etc. The tension-building sound, music and dialog during the scenes with his sisters suggests Sandler's frame of mind more than reality. The psychedelic visuals, music and sound all contribute to a dream/nightmare/fantasy feeling which goes way beyond the plot. I can't wait for the DVD to see what else is there. Paul Thomas Anderson fans will not be disappointed.
Rating:
Summary: The BEST FILM I have seen all year!
Review: Adam Sandler turns in a great performance in this follow up to "Magnolia" from director Paul Thomas Anderson. Emily Watson is equally good. Adam plays Barry Egan, a man with seven sisters who feels neglected, depressed, and unloved...until he crosses paths with one of his sister's good friends. Gradually, they develop a relationship and start dating. Meanwhile, Barry is going through a dilemma with a ring of phone sex operators. All of this leads to a beautiful finale in the best film that I have seen all year. I will own this DVD. I highly recommend this movie!
Rating:
Summary: This is a great movie !!
Review: For those who havent seen it, I highly recommend that you do. This is story of a lonely guy. This film is different for Adam Sandler and any movie in general. The conclusion is disappointing, but you love it anyway. I'm sorry that it didn't get more theatrical buzz and audience. Hopefully, it gets more recognition when the film reaches the point of its DVD release.
Rating:
Summary: Everyone, no matter how damaged, deserves love.
Review: On Saturday, I saw one of the most obscure, bizarre, different and ultimately conventional and rewarding films, and I have to recommend it to all of you. It's the Adam Sandler-Paul Thomas Anderson movie, PUNCH-DRUNK LOVE. Usually, with Adam Sandler, I'm on the fence. I remember him from when he was on REMOTE CONTROL when I was 12. I remember him when he started on SATURDAY NIGHT LIVE, and I loved his skit there called THE DENISE SHOW, where a dumped, depressed guy uses a cable access program as an excuse to stalk his ex-girlfriend. P.T. Anderson, I noticed from interviews, remembered Sandler from THE DENISE SHOW, too, and made this movie with the complexities and sadness that character in mind. All the rage (not range) that Sandler showed in films like THE WEDDING SINGER, which at times was smart and good, or THE WATERBOY, which at times was dumb and good, is on display in PUNCH-DRUNK, but Sandler's character, Barry Egan, is more awkward than goofy. He's shy, damaged, browbeaten. In his words, he "doesn't like himself very much sometimes." In the role, Sandler's able to maintain his character's oddness, manic temper (complete with fits of violence) and essential goodness, generating sympathy and care even when he does things like call a phone-sex line or destroy a restaurant bathroom. As I've watched more Paul Thomas Anderson films in an attempt to better understand them (for MAGNOLIA frequently left me baffled and confused), I've come to appreciate some recurring elements: twists of fate that inject magic into everyday life, characters that exist only to forgive and love the damaged characters and random, off-the-wall dialogue and plot twists. PUNCH-DRUNK LOVE has these. Its hokiness, for it is a somewhat-formula romantic comedy, is redeemed by these elements. Lena Leonard, played by Emily Watson, is the character whose sole purpose in the film is to unconditionally love Barry Egan. The character isn't as clearly defined or quirky as Sandler's because she exists for a sole purpose, to save Egan from himself, to teach him how to hold relationships with others, to trust others, because she almost instinctively understands that he's been hurt a lot and hasn't really deserved it. The arrival of Leonard in Barry's life coincides with the arrival, as well, of a harmonium on his doorstep. The harmonium, one of those air-organ type instruments, shows up by complete chance, and its arrival, strangely, initially frightens Barry. Yet, as he comes to accept it and learns how to play it, everything else in Barry's life comes into order. I loved this movie so much that I wanted to give it a hug. It's not laugh-out-loud funny. It probably won't appeal to a lot of people. Some people may find it too off-the-wall. Others may just not get it. But I embrace any film that understands its themes clearly, knows what it's trying to say and says just that. I don't even mind a happy ending if a film earns it. Through accepting that goodness and magic does occur in the world and that the world isn't all hurt, Barry Egan is able to accept that there is goodness inside him and that he deserves love. I thought that was pretty great.
Rating:
Summary: Excellent
Review: Wonderful casting, nice filming - don't ruin it by researching it too much before you finally go see it!
Rating:
Summary: Sandler + Anderson = ummm... better than magnolia!
Review: I have enjoyed all of P.T. Anderson's movies, but I suspect that I am in the minority in that I tend to prefer those that are less stylized. I thought Magnolia was very good, but not as good as Boogie Nights or Hard Eight. Punch-Drunk Love, however, is my favorite so far, even though it is the most stylized effort to date. But the style here functions to demonstrate Barry's delusional mindset. The style of this film is best characterized as hyper-realism. It is so realistic that it is beyond believable; it is a "strange loop" of realism, where the realism exceeds the scale and returns to the bottom, where it is no longer realistic. It is very effective at helping the viewer gain insight into Barry's thought process. The hazy shots imply a clouded state of mind. The abrupt violence exactly mirrors Barry's spontaneous outburts. The beginning of the film demonstrates what should be Barry's mantra: "Storm before the calm" -- the seemingly irrelevant car crash followed by the discovery of the "piano" which Barry would use to futiley attempt to reduce his frustrations. Barry's violent nature is at once totally ridiculous and completely believable. Similarly, it is contemptable and pitiable. One might even say forgiveable. Maybe even loveable. Because, as we watch this helpless, unloved, lonely lad try to do his best, he is constantly battered down by those for whom he would give his life.
I think Anderson's intention with this film was to visually illustrate mental illness. It works in every way; it gives the audience a first-person perspective on paranoia, delusion, and depression, while being compassionate enough to allow Barry to be a worthwhile hero. (You will certainly cheer for him when he uses the crowbar.. you'll see what I mean) It would be easy to criticize parts of the narrative of this film -- but mainly because it is not realistic, and this would be a moot argument since the film is set in a not-so-realistic world. The narrative works fine when put into the context of a dream-world, fantasy, or delusion. Obviously, this is Sandler's best film to date. He didn't have to stretch too far to get into character (he's always somewhat self-loathing and violent); however, to his credit, he employed subtely for the first time in his career and found an excellent balance between comic and tragic. I look forward to seeing him continue in his dramatic development. Guzman and Watson are great, although somewhat static. They're well-cast and help to exaggerate Barry's eccentricity. Best Anderson movie yet; one of the best films of the year.
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