A socially impaired small-business owner leading a mundane life, that includes constant berating by his seven sisters, finds romance and solace with a mysterious woman. But the romance is threatened when he falls victim to an extortionist.
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I don't like Adam Sandler, and even though he is competent in this film, I can think of other actors who would have been better. But this is such a weird film, I had to like it. Also featuring Emily Watson and Philip Seymour Hoffman.
Inexplicably, I slept on this for a long time. A decade and a half later, after having the urge to take it in, I am not overly impressed. On an aesthetic level, this is beautiful. Lean, stripped bare – stark cinematography complimented by a lilting harmonium-laced score. Further than that? Conventional rom-com plot slammed against a more charming and unique extortionist plot. Enjoyable, but also kind of irritating.
PUNCH-DRUNK clearly invokes the time and place of its own making in a fascinating way; it is a movie that is outside of history, or only indexes movie history (as was not uncustomary at the time), but it is essentially 'all spirit.' Early colour cinema was clearly 'punch-drunk' w/ its own possibilities. PUNCH-DRUNK is the same kind of 'punch-drunk.' The contact high is still strong w/ this one, these many years aft.
It has been a long time since I have watched PTA's little masterpiece, but seeing it again was a huge blessing. Who would ever imagine Sandler having a dramatic role (added with some comic)? He was bit more angry than in HAPPY GILMORE I would say. The film is beautifully shot by Elswit (his regular) and features a strange soundtrack by Brion. Both darkly comic and romantic - one of PTA's that must not be overlooked.
An unexpected PTA masterpiece - one of his shortest films, nothing is extraneous. A romantic comedy drama like no other. Stands the test of time with a profound purpose. Sandler, Watson and Seymour-Hoffman shine. The troubled protagonist remains one of the most compelling in contemporary cinema, thanks to an idiosyncratic mundane intensity. PTA's cinematography is divine.
Como una screwball hollywoodense de los 40's en plena fase cocaínomana, Punch-Drunk Love es una película que pasa de la hiperactividad a una cierta calma amenazante, para luego volver a hacer tambalear todo. En su película mas anomala y riesgosa, PTA parece haber hecho un cine de cocktails explosivos, de formas imparables que se cruzan, chocan, se enamoran y crean nuevos tonos de azules y rojos y vidrios que estallan
Punch-Drunk Love is a small-gestured love story that also serves as a study in contrasts. The cinematography and sound design are top notch, as one would expect from a PTA film. While I never really found Adam Sandler to be funny in his role as the neurotic and offbeat businessman, I enjoyed the acting and thought it was relatable. His natural awkwardness suits the film perfectly.
Am I really considering giving 5 stars to an Adam Sandler movie? Apparently. What a bizzare, but phenomenal movie. It must have been a clear indicator upon first release that PT Anderson was someone to look out for. Whilst I'm not really sure if some of the shots were at all necessary (the psychedelic wash-outs and that car crash) I certainly wouldn't remove them. Anderson seems to understand that the only way...