Punch-Drunk Love

For many people, Uncut Gems was the film that finally broke the typecast for Adam Sandler. It allowed him to enter the world of drama, and leave his increasingly shallow stereotype of the aggressive yet childish comedy role he had become known for. However, nearly two decades before the Safdies broke his curse, PTA presented Sandler with a role that built the foundation for his future. Punch-Drunk Love definitely ties with One Battle After Another for PTA’s most stressful film. It raises the stakes to heights you thought it never could, and lets them quietly drop down slowly. Once again, PTA shows off his masterful film-making skills as he tells the frantic story through one shots, silhouettes and stills that eternalise each frame as a work of art. This is only made even better by the rich colours you couldn’t even imagine to be manifested for a film. The character of Barry feels so delicate, but yet so confident at the same time. There is no doubt that for most of the film, Barry is a nervous wreck. He is prone to angry outbursts, yet he still hides in a self-made shell. However, as his situation becomes more dire, as he lies more (much like he does in Uncut Gems), and as he grows closer to Lena, his confidence balloons as he finally takes control of his life. The scene where he finally stands up to his sister in Hawaii is so satisfying to witness, it feels like it’s been leading up to that moment. In the end, Barry only needs to straighten out his main problem with a warning. It really shows how far his character came, and it shows he has changed into the man he now needs to be for Lena. Granted, at the end he isn’t perfect, but he is finally thinking properly for himself for what feels like the first time in the film. Punch-Drunk Love is an excellent continuation of PTA’s ‘odd personalities’ films, and a glorious piece of filmmaking.