"Sandler Packs a Hawaiian 'Punch'"
by Scott Mantz

"Punch-Drunk Love"
Adam Sandler, Emily Watson
Directed by Paul Thomas Anderson

Puddin' on the Ritz! Adam Sandler has his hands full in "Punch-Drunk Love"

It took a while, but Paul Thomas Anderson has finally found his voice.

Though 1995's "Hard Eight" was an intensely paced, well acted character study, it came and went with little fanfare until moviegoers re-discovered it in the aftermath of his critically-acclaimed 1997 breakthrough, the Martin Scorsese-inspired "Boogie Nights." As wildly ambitious as his follow-up--1999's "Magnolia"--was, there was little doubt that he was merely channeling his appreciation for Robert Altman's inter-weaving character studies.

It's been three years since Anderson's three-hour love-it-or-hate-it epic polarized audiences, but if the 90-minute "Punch-Drunk Love" is any indication, then the confident writer-director is working at the top of his game. Incredibly rewarding, wildly original, beautifully surreal and hauntingly bizarre, it's safe to say that "Punch-Drunk Love" is a cinematic uppercut that will knock you out.

Dedicated toilet plunger salesman Barry Egan (Adam Sandler) may show up for work every morning at the crack of dawn, but he's an insecure, socially inept loner who's emotionally scarred after years of verbal abuse from his seven abrasive sisters. Barry keeps himself occupied with a self-imposed mission to cash in on frequent flier miles after discovering a loophole in a pudding cup promotion, but he is sidetracked when he falls in love with the sweet-natured Lena (Emily Watson). Before Barry can follow her to Hawaii in an effort to achieve true happiness, he unwittingly gets caught up in a phone sex scandal that threatens to do him in...that is, if his own pent-up rage doesn't do him in first.

The "anything goes" style of "Punch-Drunk Love" is set from the beginning when--in the otherworldly glow of the morning light--a car careens out of control on the peaceful sidestreet where Barry works, followed by another car that inexplicably drops a mini piano on his doorstep before speeding off into the distance. What's it all mean? It doesn't really matter, because whether moments like this add to the story or merely underscore Anderson's penchant for self-indulgence, they will surely keep you on the edge of your seat wondering what's going to happen next.

As strange as it may seem, the real revelation here is none other than Adam Sandler, who does away with his goofball image in favor of a surprisingly heartfelt and ultimately sad performance that--in some ways--recalls Robert De Niro's Travis Bickle from "Taxi Driver." Sandler's tender, introverted desperation has him crying out for help to anyone who will listen (and no one does) before flying into a violent rage out of sheer frustration.

Perhaps Sandler is emoting his own need to branch out and (horrors!) be taken seriously. If that's the case, then he clearly found his muse in Anderson, who--like he did with Tom Cruise in "Magnolia"--gave him the confidence to churn out a potentially Oscar-worthy (yes, Oscar-worthy!) performance. Sandler is supported by reliable Anderson mainstays like Philip Seymour Hoffman and Luis Guzman, as well as the prolific Emily Watson, who gives an endearing turn as the one woman who recognizes Sander's romantic potential.

As with Anderson's previous effort, moviegoers will likely find themselves walking away from "Punch-Drunk Love" scratching their heads with confusion, not even knowing whether or not they actually liked it. But if they think about it, then that's about all you can ask for. The fact is, there's nothing else out there quite like it, and that alone makes it one of the best movies of the year.

Like I said, Paul Thomas Anderson has finally found his voice, and in this case, he's speaking loud and clear.

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