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 Posted:   Nov 2, 2002 - 2:30 AM   
 By:   Jeff M   (Member)

Wow. I dare not try and describe this movie in words. Please, please do yourselves a favor and see this film. Have no pretenses. Please, this film.

 
 
 Posted:   Nov 2, 2002 - 5:16 PM   
 By:   Todesmelodie   (Member)

Honestly, I didn't think the film itself was all that great, though the performances were great and, most importantly for us, the score was REALLY great - like an old Hollywood movie.

My problems with it: The main "love interest" had no real depth or development. It's unclear what she sees in the Sandler character. Also, it had many examples of style over substance, like the filmaker's ego took over and said "this will make people think I'm a genius!" instead of just telling the story. The opening was interesting but made no sense. And lastly, it's basicly a very silly romantic comedy plot dressed up like an art film - as if to say "take me seriously" and yet theres nothing there to take seriously - except the score.

But all that being said, it is definately different and proably still worth seeing - and I've already pre-ordered the score at Amazon.

 
 
 Posted:   Nov 2, 2002 - 6:03 PM   
 By:   Spacehunter   (Member)

I don't see how any movie with Adam Sandler can possibly be worth seeing, especially one in which he tries to act serious (judging from the TV spots).

 
 
 Posted:   Nov 3, 2002 - 1:58 AM   
 By:   JohnnyRoastbeef   (Member)

At the end of the film, which I thought was P.T. Anderson's best film yet, theatre goers at my screening were dissapointed. I heard some people say, "what was that?" and "that sucked". If you liked The Waterboy and Sandler's usual crap, avoid this.

 
 
 Posted:   Nov 3, 2002 - 8:28 AM   
 By:   Todesmelodie   (Member)

Normally I would share Spacehunter's attitude about Sandler, but I have to admit that Sandler turned in an unexpectedly quirky and likable performance. All the acting was quite good.

I have to give the film credit for taking chances too, but I still stand by my criticisms mentioned above.

 
 Posted:   Jun 27, 2013 - 8:41 PM   
 By:   Mark R. Y.   (Member)

It looks like I'm being won over by PTA. I disliked BOOGIE NIGHTS and THERE WILL BE BLOOD the first time around, but then I caught up with MAGNOLIA a year or two ago and loved it. The THE MASTER has become my choice for the most fascinating and intriguing film of the lastt few years. Now I've finally seen PUNCH-DRUNK LOVE and found it wonderful. It's a marvelous spoof of all those crappy formulaic romantic comedies we still have a decade later, and yet is a touching romance and uproarious comedy in its own right.

By the way, does PTA have a Popeye fixation? Joaquin Phoenix's sailor in THE MASTER juts his chin out all the time, and he drinks revolting alcoholic concoctions which don't seem to hurt him at all. The main love theme for PUNCH-DRUNK LOVE is "He Needs Me" from the Altman movie of "Popeye" - and Sandler is able to punch out four young men because he "now has a love which gives him strength" as he says to Philip Seymour Hoffman.

Still need to see HARD EIGHT. And I'm now getting interested in the film of INHERENT VICE, even though I didn't care for the Pynchon novel.

Any PTA enthusiasts here with some "punch-drunk" comments? smile

 
 Posted:   Jun 27, 2013 - 8:45 PM   
 By:   DavidCoscina   (Member)

It's a charming little film. Some truly wonderful cinematic moments like when Sandler's and Watson's silhouettes meet finally in a hotel lobby in Hawaii. Anderson has always had a keen visual flair.

 
 
 Posted:   Jun 27, 2013 - 9:07 PM   
 By:   Pedestrian Wolf   (Member)

Absolutely love Brion's weirdo score for the film - to the best of my knowledge, this is really where his avant-kitsch musical voice really asserted itself in a score (Magnolia was wonderful, but much more traditional). Much as I've been wowed by Anderson's recent collaborations with Johnny Greenwood, I hope he and Brion reunite for Inherent Vice. I can't see Greenwood's bleak concert hall aesthetic working in Pynchon's breezy '60s farce, whereas Brion literally seems like the only living film composer who would feel at home in that world.

 
 Posted:   Jun 27, 2013 - 9:20 PM   
 By:   Shaun Rutherford   (Member)

Absolutely love Brion's weirdo score for the film - to the best of my knowledge, this is really where his avant-kitsch musical voice really asserted itself in a score (Magnolia was wonderful, but much more traditional). Much as I've been wowed by Anderson's recent collaborations with Johnny Greenwood, I hope he and Brion reunite for Inherent Vice. I can't see Greenwood's bleak concert hall aesthetic working in Pynchon's breezy '60s farce, whereas Brion literally seems like the only living film composer who would feel at home in that world.

Completely agree with all of that (other than misspelling Jonny Greenwood's name WTFFFFFFFFFFF HOW DARE YOU). Magnolia, for all its painful temp-track adherence, still managed to be a great listen. The cellos toward the end of the "Stanley/Frank/Linda's Breakdown" cue are the highlight of the score for me.

 
 
 Posted:   Jun 27, 2013 - 9:33 PM   
 By:   Pedestrian Wolf   (Member)

Absolutely love Brion's weirdo score for the film - to the best of my knowledge, this is really where his avant-kitsch musical voice really asserted itself in a score (Magnolia was wonderful, but much more traditional). Much as I've been wowed by Anderson's recent collaborations with Johnny Greenwood, I hope he and Brion reunite for Inherent Vice. I can't see Greenwood's bleak concert hall aesthetic working in Pynchon's breezy '60s farce, whereas Brion literally seems like the only living film composer who would feel at home in that world.

Completely agree with all of that (other than misspelling Jonny Greenwood's name WTFFFFFFFFFFF HOW DARE YOU). Magnolia, for all its painful temp-track adherence, still managed to be a great listen. The cellos toward the end of the "Stanley/Frank/Linda's Breakdown" cue are the highlight of the score for me.


D'oh! I'd fix the typo, but I should probably just wear the shame.

 
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