Visually stunning, brilliantly conceived but only adequately executed, "Punch-Drunk Love," is an incomplete, beautifully flawed creation from young writer and director Paul Thomas Anderson.
Anderson's previous films, including "Boogie Nights" and "Magnolia," have established him as one of the most innovative and eccentric filmmakers of our time. Large on style and artistry, the coherence of his movies -- particularly in the manic, sprawling "Magnolia" -- has sometimes been stuck playing second fiddle. And to a degree that's OK because there's so much to appreciate beyond lucidity and cohesiveness.
But this doesn't mean there's no room for improvement, and "Punch-Drunk Love" seemed to hold the promise of something new. With a central love story, a smaller cast and a compact running time -- just 96 minutes -- the film looked like it might finally rein in Anderson's talent.
And while it certainly has a lot of potential, "Punch-Drunk Love" is not the vehicle that takes Anderson to the next level. There's too much to do in too little time, ultimately leaving the audience alone to try to smooth everything out.
The film is a window into the life of Barry Egan (Adam Sandler), a bumbling salesman who has a few problems, to say the least.
As the only brother among seven overwhelming sisters, he is the target of tremendous teasing, which has led to a bad case of bottled rage. Generally a quiet, slight man, Barry's been known to smash a window or two when his sisters won't let up.
Things get exciting, as well as rushed, when Barry enters into a romance with his sister's friend Lena (Emily Watson). At the same time, a previous encounter with a phone sex operator comes back to haunt him, and Barry becomes tangled up in a mix of budding love and intimidating extortion.
