



Paul Thomas Anderson gives us another memorable and original tale in the shape of Punch Drunk Love. Adam Sandler and Emily Watson are both terrific and it shows just how lazy Sandler is with his choice of roles nowadays. You never know where this film is heading and it leaves you wanting to know more. Not only the main characters but also his sisters, the business and his telephone buddies. All of these could warrant a longer cut but it seems Anderson cut back from the epic Vanilla Sky into a more modest running time for this project. It's not his greatest film but even then Punch Drunk Love surpasses many other films today and the soundtrack is excellent as well.
Second time round, I stopped trying to “work it out” and let it wash over me. Massive improvement. What felt spiky and strange the first time now plays like a rom-com wired into a car battery.
Punch-Drunk Love is sharp-elbowed in a way most romantic comedies wouldn’t dare, yet it’s also properly sweet. Adam Sandler is the key: he’s precise and vulnerable, but there’s a bottled-up fury in him that feels ready to leak. Philip Seymour Hoffman turns up, barely does anything on paper, and still makes the whole film tighten around him. Emily Watson is the calm in the storm.
Everything clicks — Robert Elswit’s crisp images, Jon Brion’s jittery score, Jeremy Blake’s bursts of digital colour, dialogue that’s weirdly musical. It’s tight, visually arresting, and oddly tender. And that Shelley Duvall Nilsson moment from Altman’s Popeye? PTA isn’t just winking — he’s signing his name.
Adan Sandler- that should have been warning enough for me. This film seems to have no plot at all, in fact none of the scenes even seem to relate to one another. I didn’t care enough about the utterly tedious story or unconvincing characters to stick around to find out if the garage next door would have time to repair the woman’s car, or what became of the abandoned keyboard.