'Punch-Drunk Love' pulls no punches

Paul Thomas Anderson (better known to fans as PTA) has cemented his name as one of the foremost writer/directors of modern cinema, with films such as "Boogie Nights" and "Magnolia." Adam Sandler has cemented his name as one of the most critically maligned, both rightfully ("Little Nicky" and "Mr. Deeds") and unrightfully ("Billy Madison" and "Happy Gilmore"), comedians of modern cinema. Put the two together and what do you get? -- "Punch-Drunk Love," an odd yet utterly captivating serio-comedic hodgepodge of both artists' styles.\nSandler stars as Barry Egan, a lonely and socially maladjusted plunger salesman, whose life is plagued by a barrage of taunts, insults and constant pestering at the hands of his seven bitchy sisters. On the exterior, Barry is a pensive, bland everyman, yet there is anger brewing inside, which is often released in private. Barry, in many spouts of pent-up rage, explodes, demolishing a public restroom, kicking through sliding glass doors and punching holes through walls. His anger is eventually quelled after meeting a lovely, soft-spoken woman named Lena Leonard (Emily Watson, who does wonders in an underwritten role). In an inspired moment of movie magic, the two are instantaneously smitten, and so begins Barry's emotionally taxing and oftentimes bizarre courtship.\nThis is a film far removed from any PTA has ever made. Unlike "Boogie Nights" and "Magnolia," which both hover around or exceed the three-hour running mark, "Punch-Drunk Love" clocks in at 89 minutes. And while all of PTA's works contain comedic elements, this is by far the closest he's come to making a straightforward comedy.\nSandler shines as Barry, a character that allows him to both expand and subvert his onscreen persona. PTA regulars Luis Guzmán and Philip Seymour Hoffman also excel in their brief, respective turns as Barry's good natured business partner and as a threatening, Utah-based, Mormon porno king. But the real stars of this film are PTA and his highly skilled crew. Cinematographer Robert Elswit, who shot all of PTA's previous films, again turns in top-flight work. Sound designer Gary Rydstrom, who usually works for big boys such as Lucas, Spielberg and Cameron, contributes an ingenious mix to a film that is highly reliant on sound -- almost as if it was another character. And musician Jon Brion follows up his magnificent "Magnolia" score with one that's as good, if not better, here.\n"Punch-Drunk Love" is that rare romantic comedy that pulls no punches. It's an odd little movie, but one that will reward viewers with open minds.