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COOP

Another spot-on analysis of a GREAT film, by far PTA's best. Love this one so much. Sandler's slow burn and freakout at his sister's house is an amazing piece of acting.

Mr. Peel

I love early Sandler--BILLY MADISON, HAPPY GILMORE--it's in recent years that he's kind of lost me. But I love PUNCH DRUNK LOVE too. You can't really explain it, just like you can't explain those ultra-painful feelings that it's about, the ones that make you want to scream, "Why? WHY???!!!" in the face of the woman you want to say everything to about how much you love them. And I love this piece. I love it so much that it makes me want to pick up the computer and smash it against the wall so I never have to read it again, let alone ever read anything else on Sunset Gun. That's how good a writer Kim Morgan is. But I will gladly watch POPEYE any day of the week for just the joy of it.

Encore Entertainment

I am anticipating this. I really am. When I was young I loved all the crappy Sandler films, not anymore...but still.

Ryan Kelly

I was just remarking to a friend that this is probably P.T. Anderson's best movie; the only movie where he really acknowledges that he is very distant from humanity, though unlike his idol Kubrick, I don't think he understands people too terribly well. "Punch-Drunk Love" is great because it's about that alienation. PDL is also the closest he's come to approximating his other idol, Altman, I think (especially "Brewster McCloud" and "Popeye"). I still like his other works very much, but in "Magnolia" and especially "There Will Be Blood" I think he bites off a little more than he can chew.

But this is a beautiful piece that very perceptively discusses this most under-rated work. Great work here as always.

jim emerson

I'll weigh in because I'm one of those people who looks right through Sandler. There's just nobody there. I liked this movie a lot, but you remind me I need to see this again. All I remember is feeling that Mary Lynn Rajskub blew everyone else off the screen -- without trying. She cut through the movie's twee aspects and seemed so much more in touch with the source of the movie's pain and neuroticism. Sandler, as usual, doesn't interest me because (like Cruise, even in "Magnolia") he always strikes me as a slight, synthetic, cartoony presence. For me, PTA peaked with "Hard Eight" and "Boogie Nights," and has become increasingly stilted and mannered since...

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