By Amy Nicholson
By Stephanie Zacharek
By Calum Marsh
By Stephanie Zacharek
By Inkoo Kang
By Voice Film Critics
By Alan Scherstuhl
By Alan Scherstuhl
What's more, the movie is a romantic comedy. Anderson's three previous features (Hard Eight, Boogie Nights, and Magnolia) are all characterized by a distinctive loser's-lounge atmosphere. Punch-Drunk Love attempts to let some sunshine in, if barelyAnderson's fans won't be too surprised to learn that the mood is still a bit dark. Set in the bleak vastness of the San Fernando Valley, Punch-Drunk Love is essentially downbeat in its studied sight gags, fatalistic mantra of recurring riffs, and glum (if pratfall-prone) protagonist. A carefully conceived opening sequence sets the tone with Sandler's Barry Egan in an empty warehouse, seated at his desk and working the phone. His enigmatic business dealings are complemented by the vehicular weirdness on the street outside, which sets up his meet-cute with co-star Emily Watson.
A dealer in novelty plumbing supplies, unlucky in love, and henpecked by seven sisters, Barry is a mild-mannered doofus whose masked depression is apt to erupt in violent aggroas when, at a family gathering, he suddenly goes berserk and kicks in one sister's picture window. Barry has no depth, but his bland exterior is a container for unconscious unconscious desire. (His most frequent line is "I don't know.") It's no particular stretch for Sandler to play this Happy Gilmore type, although Anderson generally puts a lid on the star's trademark anticsthus adding another level of repression even as he emphasizes Sandler's iconic stature. (An iridescent blue sports coat and semi-crew haircut serve to reference Jerry Lewisas does Sandler's daring absence of chemistry with the nearly as eccentric Watson.)
Written and directed by Paul Greengrass, from the book by Don Mullan
At the New York Film Festival, October 2 and 3
Opens October 4
Directed by Tom Tykwer
Written by Krzysztof Kieslowski and Krzysztof Pieslewicz
Opens October 4
Although Punch-Drunk Love was evidently written with Sandler in mind, Anderson's immediate inspiration was the case of a California civil engineer who, by reading the fine print on a promotional coupon, discovered a loophole and managed to accrue over a million frequent flyer miles by purchasing only $3000 worth of Healthy Choice pudding. Nothing in Punch-Drunk Love has this level of obsessional complexityexcept perhaps the prolonged use of an annoyingly whimsical song from Robert Altman's Popeye. But the pudding scam does serve to establish Barry's unique, near autistic, perspective. He's as emotionally remote a figure as any of the Valley denizens in Magnolia.
Indeed, as resident sacred monster, Sandler seems isolated byas well as inthe movie. The cast is stocked with nonprofessionals, including most of the women who play Barry's sisters, and neither of the Anderson regularsLuis Guzmán and Philip Seymour Hoffmanwho have been drafted for the task seem to know how to engage the star. In the comic set piece, impressively shot in a single long take, lonesome Barry dials a phone-sex line for a conversation that reaches maximum absurdity with a climactic extortion. Anderson is a gifted director of actors, but Sandler, save for this majestic solo, barely reacts. Rather than a goofy throwaway, the scene becomes the motor that will set the movie's course to insure a climax in which the star goes ballistic.
Punch-Drunk Love has an admirable disdain for audience expectations. As offbeat comedies go, Anderson's is more stringent and less literary than Being John Malkovich or The Royal Tenenbaums, and the understated classicism is sometimes reminiscent of Albert Brooksalthough, needless to say, Brooks is far funnier. But then Anderson isn't really chasing laughs or Scorsese or (Olive Oyl's "He Needs Me" notwithstanding) Altman; his analytical style is a return to Hard Eight. He's running a reductive riff. (There's a lovely extended bit on the generic nature of Valley apartments.) Punch-Drunk Love is as perversely underwritten as Magnolia was deliberately overstuffed.
Unfortunately, this bold high concept only carries Punch-Drunk Love so far. (Perhaps it needs to be seen with diminished expectations to be fully appreciated.) As elegantly crafted as it often is, Anderson's movie is essentially a one-trick pony that, hampered by an undeveloped script, ultimately pulls up lame.
Also at the Film Festival this week (and opening theatrically Friday), Paul Greengrass's Bloody Sunday is a startlingly immediate re-creation of the January 1972 Derry massacre occasioned by an Irish protest held in defiance of a British ban.
Establishing the inevitable collision, Greengrass cuts back and forth between the spirited Irish Catholics preparing to march through their republican neighborhood and the grim, gray-faced British command making plans to stop them. The nominal protagonist is Protestant MP and pacifist civil rights leader Ivan Cooper (James Nesbitt), who cheerfully orchestrates the march and then is overwhelmed by the unfolding catastrophe. All characters are encountered on the run. The movie is shot verité style as a detailed mass of hectic vignettesjagged jump cuts, sudden blackouts, overlapping everything. The "you are there" faux combat photography, a sequence that runs nearly three-quarters of an hour, is as remarkable in its staging as Black Hawk Down's, except that Bloody Sunday was shot largely on 16mm, Greengrass is frequently closer to the action, and here, for the most part, the victims are unarmed civilians. (Thirteen were killed and 14 wounded, although it feels like many more.)
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