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Ulasan Kritikus
Punch-Drunk Love
Paul Thomas Anderson Amerika Serikat, 2002
My favorite part of the movie is when Barry goes to Hawaii. He suddenly realizes he can just go to her, even without the frequent-flier miles. This is also my favorite thing in life: the sudden understanding that you aren’t condemned to sadness, that you can simply walk toward the thing you want.
November 16, 2016
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The camerawork trades the elegant Steadicam long takes that made Anderson famous for jittery, whip-pan motions and compositions that isolate Barry in the frame even when he is surrounded, making other people the bars in the prison he has erected in his mind. Anderson makes objective, distanced shots pulse with nervousness.
November 15, 2016
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To a jaded soul, something like Mon Oncle is not what most moviegoers of 2002 would consider “real entertainment.” But in its time and place, it was, and at repertory theaters still is; find any of Tati’s features playing at a cinematheque, and they’ll play to their audience. So would Punch-Drunk Love. Its pleasures are its own, and Anderson remains one of the few filmmakers of his generation for whom no new direction should be a surprise. His instincts have yet to land him in anyplace boring.
November 14, 2016
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Punch-Drunk Love (2002) is a carefully choreographed film, and also a seemingly lightweight work within Anderson’s filmography characterized as it is by pieces of huge ambition and scale. The film is first and foremost an exercise in careful synchronization between sound and image (the music was to a large extent worked out before shooting). Coordination as an overriding impulse suggests the search for actual correspondences in unexpected places.
December 16, 2015
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None of this is played, really, for laughs; it’s more about the absurdity of life, the chance relationships that occur, the inexplicable events that alter our destiny, and the need to keep on striving no matter what obstacles one might encounter. For once, Sandler’s sad Sack persona is put to good use in a film, and Anderson directs him masterfully.
March 14, 2015
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Sandler’s manic energy assumes a disturbing edge under the aegis of Anderson’s direction, while everything here—from the off-kilter compositions, to Jon Brion’s playfully arrythmic score, and the astonishing use of color—is purpose-built to synaesthetically echo Barry’s troubled psyche. Philip Seymour Hoffman, meanwhile, is a terrifying hoot as Barry’s puce-faced nemesis: a carpet salesman-cum-phone sex line extortionist.
August 20, 2014
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I don’t just like Punch-Drunk Love, I love Punch-Drunk Love. I love it with an odd fear, and with my entire body, like how I feel when an anxiety attack has passed and my brain is still tripping from the surge of adrenaline — when birds and trees and cab drivers suddenly gain a glowing, but warped beauty. An extraordinary, unique picture that manages to simultaneously subvert and showcase the Sandler persona beautifully, while maintaining Anderson’s singular éclat as a filmmaker.
February 13, 2011
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PUNCH-DRUNK LOVE is Paul Thomas Anderson’s greatest work. This little 95-minute movie, made between two projects intended to be “epic” (MAGNOLIA and THERE WILL BE BLOOD) comes across as more epic than either—a struggle that’s almost comically ordinary instead of one maximized for “meaning.” It’s also his most beautiful musical without being a musical; it could be a ballet, a little operetta, or a children’s symphony.
February 06, 2009
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P.T. Anderson’s anguished romanticism achieves concision and melodic sweep in his fourth feature—a makeout movie for anger management candidates, a big sloppy kiss to Adam Sandler fans (who mostly wanted their money back), and the best studio release of 2002.
August 13, 2003
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I have now seen Punch-Drunk Love three times, and every time it is a different film – a prism that successively reveals its dark and light facets. From one angle, it is a modern romantic comedy, with generous allusions to the colour palette and giddy, emotional tone of Hollywood musicals. From another angle, it is a disquieting essay on frustration, neurosis, aggression and violence. Ultimately, it is all these things mixed up together, indivisibly.
April 01, 2003
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The film looks good and has its funny moments, but too often one senses Anderson straining to impress, whether by purloining (and misusing) a Harry Nilsson song from Altman’s Popeye, or by tossing in yet another surreal, surprising or seemingly inexplicable narrative idiosyncrasy.
February 01, 2003
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The movie is filled with so many surprises and weird unexplained events. And none of this unexpectedness felt random, to me. Or like a movie-director trying to be cryptic and artsy and clever. It actually felt like life. Not everything in life is connected or explained. Things work on us in subconscious nonverbal ways. Some things are meaningful only when we decide to put meaning on them.
October 31, 2002
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It is already apparent that Punch-Drunk Love will not be everyone’s cup of tea, but nonetheless Mr. Anderson has found a way to fashion a passionate romance out of the materials of postmodern chaos.
October 21, 2002
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Sandler has said that playing the role of Barry didn’t seem like a departure for him at all, and he’s right; the character is basically just a slight variation on the Sandler persona from, say, Billy Madison-the good-hearted naïf with anger-management issues. The way Anderson uses that persona, though, is as inspired as Martin Scorsese’s use of Jerry Lewis in The King of Comedy.
October 11, 2002
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Walking out of “Punch-Drunk Love” I was certain of only two things: that I had no idea what I’d just seen, and that I wanted to see it again right away. By turns irritating, strange, and finally entrancing, “Punch-Drunk Love” is something we haven’t seen before: a manic-depressive romantic comedy that aspires to the soul of a musical. It’s a new-fashioned love song.
October 11, 2002
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Underwritten and perversely fragmentary, with gags that bring down the house but ultimately go nowhere, Punch-Drunk Love gets the full force of Anderson’s prodigious visual imagination, with every moment so spectacularly heightened that the picture’s nearly over before you notice how empty and impersonal it is.
October 10, 2002
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I tend to like quirkiness, but this arch effort is so eager to be quirky nearly everything winds up willfully mannered, from Jon Brion’s flashy percussive score to the hyperbolically absurdist plot. Still, I wouldn’t have minded the Hollywood schlock lurking behind the studied weirdness if I’d believed in any of the characters on any level.
October 04, 2002
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Though Anderson claims to have been inspired by Hollywood’s Technicolor hey-day, Barry brings to mind Jacques Tati’s Monsieur Hulot while the character’s romantic flights of fancy lovingly evoke dopey silent melodramas. Despite some memorable comedic moments (see Sandler and Watson’s twisted bed scene), Punch-Dunk Love is otherwise loud and graceless, a messy work-in-progress passing itself off as the finished product. One could say it resembles punch-drunk love.
October 02, 2002
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…Anderson’s immediate inspiration was the case of a California civil engineer who, by reading the fine print on a promotional coupon, discovered a loophole and managed to accrue over a million frequent flyer miles by purchasing only $3000 worth of Healthy Choice pudding. Nothing in Punch-Drunk Love has this level of obsessional complexity—except perhaps the prolonged use of an annoyingly whimsical song from Robert Altman’s Popeye.
October 01, 2002
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In a sense, the rigid simplicity that is implicit in any Sandler picture holds true in Punch-Drunk Love and makes the whimsical love story a deliciously guilty indulgence. Mr. Anderson has shrewdly created a character for Sandler that is straight out of his own movies, with the only thing, and critically important, thing separating Billy Madison with Barry Egan is the world the Egan resides in.
June 28, 2002
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