Punch-Drunk Love
Critics have a tendency to overpraise films that are weird, offbeat or bizarre. They also often fall pray to the habit of heaping praise on a favorite director, no matter what he or she delivers. Said directors can serve up a plate of crap and still receive glowing praise from the critics.
This is the only explanation I can come up with for the critical reception being given to director Punch-Drunk Love, the latest film from writer/director P.T. Anderson (Boogie Nights, Magnolia). While certainly not bad, it's a mediocre film that is being lauded as a brilliant work of art and received the Best Director prize at the Cannes Film Festival. Did I miss something?
Oh yeah, it also stars Adam Sandler (Happy Gilmore), a comic actor who's had his share of blockbusters but often been a punching bag for the critics. This is supposed to be Sandler's time to shine and prove he's a serious actor -- and maybe even score an Oscar nomination. In Punch-Drunk Love, he plays Barry Egan, a down-on-his-luck loser who sells toilet supplies, is mentally brutalized by his seven sisters, and is painfully shy when it comes to the ladies.
Barry's social life takes a turn when Lena Leonard (Emily Watson) wanders into his world and takes a liking to him. However, a 900-call gone awry threatens to cause Barry bodily harm and jeaporidize his relationship with Lena.
Technically, Punch-Drunk Love is a solid film, with competent use of cinematography, sound, art direction, etc. Unfortunately, it's all for the benefit of a story that's largely uninvolving.
The film's biggest problem is that the relationship between Barry and Lena never strikes a believable chord. With Anderson upping the weirdness factor at every turn, and Sandler following suit, it's a mystery why Watson's character feels any attraction toward Sandler considering his erratic behavior, which features childish temper tantrums and stalker-esque leanings. Watson's too good-looking to believe she'd dig bizarro Barry, and Anderson's doesn't flesh out her character enough to otherwise explain her attraction.
The main subplot, involving Sandler's ill-advised 900 call, has some good moments, both dramatic and funny, but not enough to carry the film. It does allow Sandler the opportunity to do some good physical comedy, but overall his performance, while solid, is hardly the revelation that some critics are making it out to be. Adding to the disappointment is the fact that Philip Seymour Hoffman and especially Luis Guzman are wasted in small roles.
The film does do a good job portraying the relationship between Barry and his sisters. In a film that often seems too off-kilter for its own good, Anderson hit the nails on the head here.
Overall, though, Punch-Drunk Love is a disappointment. Being different, off-center and stylistic is great, but not when it only masks the weak story at the film's core. After following the excellent Boogie Nights with the somewhat overrated (except for the Frank J. Mackey infomercial) Magnolia and now Punch-Drunk Love, the once-promising Anderson seems to be floundering.
Send any comments/ feedback to the author.
This flick doesn't have the usual drinking quotient of most Adam Sandler films.
Fans of offbeat romances may find some inspiration here, but for most this probably won't create sparks.
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