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Too much of everything

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

'Punch-Drunk Love (2002)' is a bizarre little movie about a lonely, damaged man just trying to live his life to its newfound fullest potential - thanks to the jarring introduction of a calming harpsichord and a woman beautifully unlike his sisters - while everything else spirals out of control and each disparate yet equally dysfunctional element smashes into one another at maximum velocity, causing both the protagonist and audience extreme anxiety (helped enormously by the fantastic camera-work, editing - or, sometimes, lack thereof - and percussion-based score). Ultimately, this all seems like just a glimpse into the daily struggles of a guy who seems downright decent if you dig just below the surface, below the outbursts of extreme anger and violence and the barely-there facade put on just to maintain the socially-required illusion that 'everything's okay' even if it really isn't. There's a profundity and an optimism beneath the generally uncomfortable vibe, given off due to an unsteady - yet, purposefully so - tone and a sense of pseudo absurdism just in the sheer 'randomness' of it all (though, thus is life), but both aspects are paramount in its success because it ends up feeling oddly honest, especially in its portrayal of a possibly mentally ill but definitely extremely sad and lonely social-outcast, and also strangely heartfelt, essentially saying that no-one is out of love's reach and that everyone has someone they're meant to be with no matter who they are or what their 'problems' may be. The flick never shies away from its pulpiest of elements, either. At times, it even feels like an art-house thriller, with an excellent sense of suspense and tension. In itself, it almost feels like the 'outcast' of romance movies, sending out the same soppy message but in an entirely different package. It's actually incredibly endearing, despite being strangely unsettling. It's also oddly entertaining even at its most frustrating. It really is excitingly unique stuff. 8/10

In the whole movie I waited for the plot to stir up and i was just waiting that it would start now but it never happened. Whole movie was a disappointment. Seriously some stupid kids rated this as 10. wtf

The best Adam Sandler movie ever. Period. This film shows a depth that I never thought Sandler could achieve. It shows a hidden acting talent that is obscured by his toothy, stupid Adam Sandler character of every other movie he has ever been in. The director of actors, Paul Thomas Anderson, brought this out from Sandler in an extremely personal and personable film. To put it simply, for Anderson, Barry Egan represents the eccentricity of himself and for everybody; he represents the difficulties, struggles, and awkwardness in everyday life.Anderson followed up what may be his greatest piece, Magnolia (1999), with an unusual romantic comedy. Yet he reached equal heights to his previous film. While Magnolia was a masterpiece of artistic vision, Punch-Drunk Love strikes at the heart of the everyday man. But to make a film that can touch everyone's heart is a monumental task. And Anderson succeeds.It follows the eccentric and struggling Barry Egan, played by Adam Sandler with exquisite taste, who manages a growing business, is abused by his family, struggles with anger problems, and searches for love, amidst the slightly strange, but uniquely pleasant events of the film. And every aspect of the film from the cinematography (which is abstract and brilliant) to the soundtrack (which incorporates the harpsichord that plays a prominent role in the film) contributes to the overall feel and development of the main character. His feelings come across from the basic facial features of Sandler and the carefully expressed twitches and mannerisms to the simple movement of the camera that translates to the screen. Loneliness. Anger. Sadness. Love. You feel it all. In the end, everybody feels some aspect of Egan in themselves and the people surrounding them.Anderson finishes his film with a unique, but appropriate climax that addresses all aspects of the main character's development in a satisfactory conclusion. His flourishes of the camera come together and accurately represent the emotions of himself and his characters, both throughout the film and in each individual scene. But an amazing aspect of the cinematic masterpiece is the sound and score. Music imbues more emotion than any other aspect of film and Anderson's implementation of his almost psychedelic and raw soundtrack perfectly complements the eccentricity of Egan.In the end, Anderson creates a personal masterpiece rather than an artistic masterpiece. It is one of the most overlooked, under- watched, and underrated films I know of and deserves more recognition and accolades than it received: a mere single Golden Globe nomination. It's personable and touching. It's funny, but serious. Barry Egan is us and we are him.

Awful movie.Don't waste your precious time on this,worst characterization and do you know what is the biggest negative of this movie its background score,it just gave me a headache.It's not at all a romantic comedy movie it's a thriller.I just liked the ending of the movie that too OK compared to the remaining part of the film.