Rating: 
Summary: Very Different Role for Sandler
Review: I went in the theater absolutely not expecting a typical Sandler movie, and what I got was exectly what I expected. At first I must admit I didn't see where things were going at all, but I eventually grew to really enjoy it. It's not really a comedy or anything like that, but it's funny to see how the characters get into certain situations and how they react to things. The movie has a very awkward feel to it, until you get used to the pacing, and Sandler's character evokes empathy. Loved the movie.
Rating: 
Summary: Yuck!!!
Review: If you haven't gone to see this, don't bother. We left the theater wondering what happened in the first scene. There was no title sequence, the movie just *started*. One second we're watching a trailer for J.Lo's new movie, the next second, Adam Sandler is sitting at a desk, talking to someone on the phone. It's just... bizarre. From funky camera angles, to blurry colors that swirl through the middle of scenes, to music that is so loud you can't hear the dialogue, to dialogue that consists of hate and meanness.... It just beats you up one side and down the other.
Not worth it. Not funny. Barely scratches into "sweet" before being covered over with "ickiness". *shudder*
Rating:
Summary: a self conscious romantic comedy
Review: "Punch Drunk Love" is a self conscious romantic comedy that plays by the rules. Romantic comedy is a genre which focuses only on the beginnings of a relationship: the falling in love (or, sometimes, the rekindling of the short term magic and spontaneity of romance: the re-falling in love). But romantic comedies are not about whole relationships, nor what a relationship is really all about and "Punch Drunk Love" is, definitely, not about relationships (the last line from Emily Watson reveals the relationship is what happens next, after the movie ends). "Magnolia", Anderson's previous film, was about relationships, and the difficulties people find and create for themselves in having them; people hurting each other, hurt by each other and hopelessly alienated from each other. "Punch Drunk Love" is about the individual who is alienated from practically every aspect of the world he inhabits, including his very own thoughts and the little place in the world he's created for himself. Barry Eagan is much more than a man belittled by his sisters into not liking himself. He is modern man, trying to find a footing for himself in a world that doesn't recognize him as a participant, a scavenger grabbing up piece's of meat before anyone has noticed (the harmonium, the frequent flyer miles), and an angry man (as angry and as alienated as Peter Finch's character in "Network", Vincent Gallo's character in "Buffalo 66" and Edward Norton's nameless character in "Fight Club"). Any man who watches "Punch Drunk Love" and does not confess to seeing himself in Barry Eagan is not so much in denial as just simply lying. "Punch Drunk Love" is one of those romantic comedies that will never be designated a "chick flick" (the previous mentioned "Buffalo 66" is another). I think "Punch Drunk Love" is the perfect antithetical follow up to " Magnolia". Despite it's depressing and dysfunctional characters, "Magnolia" flows gracefully: shots flow into each other, the music enhancing the whole experience of the flow. Many have compared "Magnolia" to opera -- it even has a portion of Bizet's "Carmen" in the midst of it's best sequence. "Punch Drunk Love" doesn't try to flow in the same fashion -- it rarely tries to flow at all: much of it is atonal, dissonant, and just downright discomforting.
I have seen "Punch Drunk Love" twice. Each time I left feeling P T Anderson was paying homage to the art forms of the last century: abstract expressionism (times when the screen shows colors without objects); surrealism (the harmonium, particularly it's introduction into the film), and the previously mentioned atonal music, as well as the old Hollywood romantic comedies (which also influence's some of the music of the film). I must admit, the first time I saw "Punch Drunk Love" the first 45 to 60 minutes of the movie was disappointing to me; for months I was looking forward to seeing this movie -- I even saw it at a matinee on my way from the work on the first day it opened in the Phoenix area. But by the time it ended I was disappointed I couldn't go to Wal-Mart and immediately buy a copy on DVD to see again (and again). Can I recommend it? Absolutely not. Most people will hate it -- most people I've known who've seen it hated it -- and I just don't need to hear too much more about what a "bad" film one of my favorite movies is.
Rating:
Summary: Stunningly inventive!
Review: Paul Thomas Anderson doesn't make ordinary films. And three cheers for that. Magnolia was extraordinary, so was Boogie Nights. And now Punch-Drunk Love brings us Adam Sandler in the full flower of his talent; even the over-rated Emily Watson turns in a fine, understated performance. The casting alone in this film is inspired; the cinematography is exceptional; the production design is perfectly attuned to the script and the characters. Even the soundtrack (including a wonderfully appropriate tune sung by, of all people, Shelley Duvall) is a delight. There are legions of angry people around. Sandler's character (deluged with seven nutso sisters) inverts his anger and vents it on windows, mirrors and public bathrooms. When love enters his life via Emily Watson, that anger serves a useful, alarming purpose. The movie abounds in madly appealing concepts, particularly the pudding purchases. The opening crash sequence, the depositing of a piano on the street from a passing taxi as the car crash occurs, Sandler's getting lost in endless hallways trying to find Watson's apartment--it's a visual banquet, complimented by Wurlitzer-like color bars that shimmy across the screen under various sound strips--this is signature Anderson material. But it's Sandler's turn to shine as a man who is freed in remarkable ways by love. His performance is contained, muted, and completely sympathetic, even when he's at his craziest or his most relentlessly, painfully polite. It's a tour de force performance, ably assisted by the always reliable Luiz Guzman. For those who love film and like to see the boundaries get stretched, Punch-Drunk Love is a must-see. It's innovative, wildly imaginative, funny, sad and, ultimately, rewarding.
My highest recommendation.
Rating:
Summary: I Loved It
Review: It seems to me like people go to the cinema with a specific node in themselves that they expect this movie to open up. First off, this is not a comedy and this is not a new character from Adam Sandler. Sandler breaks things, but it's so heartbreaking to watch this time. Sandler yells at people, but he does it like a normal person would, not a manic golfer with Apollo Creed by his side.
Punch Drunk Love is a movie that a person needs to see with an open mind and an open heart(got crackers?). The movie should be taken in. Do not carry expect what it will be like, just see this movie and let it hit you(no pun intended).
The performances are top-notch. Sandler plays the same character but he has developed it to fit into our reality. Philip Seymour-Hoffman is excellent as always. The sisters are so evil. They evoked such pure hatred from me. The love story and the emotional consequences are totally believeable and they won me over.
Granted, this movie is not for everyone. But no matter if you like the movie or not, you will remember this and you will have a good time.
Rating:
Summary: finding strength in love
Review: I think much of the criticisms of Punch-Drunk Love has been largely unfair. Punch-Drunk has been accused of having little in the way of character development or an intricate and absorbing plot, and the love relationship between Sander's [ Barry Egan] and Watson's [Lena Leonard ] characters has been deemed exaggerated and even unrealistic by some. While much of this criticism has some merit, I think taking this angle misses the point of Paul Thomas Anderson's melancholy masterpiece. Certainly, one can quibble about the possibility of someone as cultured and apparently emotionally matured as Lena Leonard falling for a "loser" like Barry Egan. But love is much more complex, unpredictable and intriguing than some of us think; against social trends and even common sense, people fall in love all the time with the unlikeliest of individuals. Thusly, it would be pointless to focus too much on how "realistic" it is for Lena to fall in love with Barry. Instead, I think Paul Thomas intended for the audience to pay more attention to the miracle of love - its power to bring about positive emotional change in the couples caught up in its emotionally liberating grasp. In the case of Barry Egan, that change was nothing short of miraculous and compelling. Before allowing Lena into his life, Barry was perpetually afraid and intimidated by large or important social situations. Much of this anxiety stem from severe social anxiety and personal insecurity, among other psychological and emotional maladies. However, when Barry finally realizes that Lena accepts him for who he is - some might say, she loves Barry precisely because of his flaws - he readily opens up to her. And over the course of the remainder of the movie, we see Barry transform into a more courageous and emotionally secure individual. I think this transformation powerfully highlights the ultimately optimistic message of Punch-Drunk Love. Punch-Drunk Love is a very strange and peculiar movie, and it will elicit a wide range of emotions in the viewer. It is genuinely funny, ocassaionly sad but downright frightening and violent in parts. But one never loses the feeling that love in the end, to borrow the much-used clique, will overcome. I left the movie theatre feeling not bewildered but somewhat in awe of the incredible depth and miraculousness of love.
Rating:
Summary: Save your time and your money...
Review: I saw this movie after seeing trailers for it on a couple of occasions. I thought it looked like a light comedy/romance. What a waste of my time and money! The only thing that kept me from leaving the theater was the hope that it HAD to get better eventually. Wrong. I'm not a big Adam Sandler fan, but that wasn't it at all. I actually thought he was pretty good in this, but I thought the movie itself was disgusting and depressing. One review I saw said it was a "dark comedy"....well I agree that it was definitely dark! Not much of a comedy, though. Thank goodness we all have differing tastes, because some people may see something redeeming in this movie, but I truly thought it was one of the worst movies I have ever seen!! Again, save your time and your money!
Rating:
Summary: Outstanding Film
Review: One of the most affecting films I've ever seen-- brilliantly directed and brilliantly acted. Mr. Anderson won a well deserved best-direction award for this film at Cannes. Likewise, Sandler and Watson exhibit incomparable synergy on-screen. I want to bring everyone I love to see this movie.
Rating:
Summary: If you read no other review, read this one!!
Review: It is the best PT Anderson film yet, still good like his others, but short enough so that, if I warch it at age 20, I won't miss the birth of my first child at 25.
I would call this a psychological comedy, or a dramedy, because, psychologically, it can do a lot to you. It really makes you think about who you are as a person, how you were brought up as a child, maybe, and why we as humans do the sometimes odder-than-all-heck things that we do, while still managing on a completely separate level to be funny. It's almost like you're watching two films, both equally worthwhile, at the same time.
BRAVO.
D McF
Rating: 
Summary: Character in Search of a Plot
Review: I had a strong identification with the Adam Sandler character in this comedie noir without being anything like the person he portrays. Or so I believe. Barry Egan, a character creation whom only superlatives seem sufficient to describe, is an impulsive knot of conflicting compulsions and neuroses; he's completely uncomfortable with himself, beguiled by his contradictions. The yawning chasm between who he is and who he wants to be engulfs him, swallows him whole. His new suit, a purchase presumed to give him some sort of authority and confidence, might as well be made of lead or cement so awkward is he in the role of widget impresario. Indeed, if there is one word which describes action, character, and environment of this entire movie, it would have to be: uncomfortable.
Uncomfortable from the first screechy frame when a "harmonium" (everyone says 'piano') crash lands on the road running past the widget sales warehouse. Predictably uncomfortable when Barry meets his love interest, Lena, played with contrapuntal warmth of expression by Emily Watson. It's not only the main characters who are uncomfortable, either. Everyone is quirky, from the silent Hispanic employees who work without relish alongside Barry in the sleazy Sherman Oaks warehouse and cheap merchandise district to the sleazy dial-a-sexual fantasy low lifes who invade, menace, and wreak havoc with Barry's love life from a parallel universe of sleaze in Provo, Nevada or some place like that. As you might expect, Barry has an interesting family comprised of a whole bunch of sisters and their cloying husbands. There's a fractious family gathering scene which does much to highlight and underscore Barry's disconnect and estrangement from the rest of the world.
The plot has two main currents and I'm not sure which one is the "back story", as they say. Obviously, the love affair with the Emily Watson character is significant and central, but it's not as interesting as when the desperately lonely would-be impresario divulges his credit card number and other personal information in a dial up phone sex scene which spins the action toward violence and danger. I'm not giving up any state secrets to say that love triumphs in the end because you knew that if you read the movie's title.
The film had its disappointments, let's say, but what really did engage me in the film was Adam Sandler's range as an actor. Being middle-aged, numb as a Buddha, and out of the loop half the time with regard to who's whom in the New Cinematic Universe, it was encouraging and inspiring for me to see Adam Sandler, the favorite of 8th graders everywhere, undertake a staggering and sometimes breathtaking series of metamorphoses, shedding skins as if there were no tomorrow.
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