Fantastic. This is hard to explain how this film gets me, but it does. The steadycam work is wonderful, much of the film is hilarious, and the Watson/Sandler chemistry is fascinating. However, there is something more here that I cannot explain. As bizarre as Sandler seems, there is something so real about how love can change someone.
I thought this move was freakin' hysterical...although the movie theater I sat in was silent most of the time, and as people wandered out at the end, I could hear them muttering they they just didn't "get it". So, if you DO get it, you will laugh your ass off...otherwise, you'll hate it -- it's just one of those movies and certainly worth the gamble, since I never laughed so hard in my life!!!
Rain Man + The Wedding Singer x quirkiness = Punch Drunk Love. The problem with this movie however is the screenplay. The film starts off interestingly enough, but the contrasting storylines feel unnatural as if the writers were mixing oil and water. I think this could have been solved by fleshing out Watson and Hoffman's characters more. Ultimately the film feels unbelievable.
Anderson's oddly endearing rom-com thriller is a masterful piece of style: the long tracking shots are different, the colour scheme is gorgeous, and Jon Brion's score is a unique masterpiece, just bizarre enough to fit (and set) the tone of the film. Too bad there's not much substance. Sandler is good, Watson is cute, and Hoffman is so damn great you wish the movie did more with him. It's certainly a well-made film, but with a more involved plot, it could have been perfect.
So desperate to prove its own artistic merit that it pushes its loose plot almost completely to the sidelines, hoping that the viewer will be so concerned by the seemingly random details that he won't notice the lack of any real substance. However, Watson is charming enough, and Sandler plays the borderline headcase Barry Egan surprisingly well- it's just a shame that they're fighting against such a waste of a script.
Feels minor in comparison to PTA's best, but is nonetheless a damn good film, and very charming in its eccentricity. Egan isn't "normal" in any sense, but works as an everyman because Sandler makes him a sympathetic figure, projecting his insecurity, fear, anger and desire to fit in. PTA hits on a melancholy tone and never lets it up.