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Punch-Drunk Love (The Criterion Collection) [Blu-ray]
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Additional Blu-ray options | Edition | Discs | Price | New from | Used from |
Blu-ray
November 21, 2016 "Please retry" | — | 1 |
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| $30.09 | $24.13 |
Watch Instantly with | Rent | Buy |
Punch-Drunk Love | — | — |
Purchase options and add-ons
Genre | Comedy |
Format | Widescreen, Subtitled |
Contributor | Philip Seymour Hoffman, Adam Sandler, Emily Watson, Paul Thomas Anderson |
Language | English |
Runtime | 1 hour and 35 minutes |
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Product Description
Chaos lurks in every corner of this giddily off-kilter foray into romantic comedy by Paul Thomas Anderson (There Will Be Blood, Boogie Nights). Struggling to cope with his erratic temper, novelty toilet plunger salesman Barry Egan (Adam Sandler, demonstrating remarkable versatility in his first dramatic role) spends his days collecting frequent-flyer-mile coupons and dodging the insults of his seven sisters. The promise of a new life emerges when Barry inadvertently attracts the affections of a mysterious woman named Lena (Emily Watson), but their budding relationship is threatened when he falls prey to the swindling operator of a phone sex line and her deranged boss (played with maniacal brio by Philip Seymour Hoffman). Fueled by the careening momentum of a baroque-futurist score by Jon Brion (Eternal Sunshine of the Spotless Mind, Magnolia), the Cannes-award-winning Punch-Drunk Love channels the spirit of classic Hollywood musicals and the whimsy of Jacques Tati into an idiosyncratic ode to the delirium of new romance.
DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES
- 4K digital transfer, supervised by director Paul Thomas Anderson, with 5.1 surround DTS-HD Master Audio soundtrack
- Blossoms & Blood, a twelve-minute 2002 piece by Anderson featuring Adam Sandler and Emily Watson, along with music by Jon Brion
- New interview with Brion
- New piece featuring behind-the-scenes footage of a recording session for the film s soundtrack
- New conversation between curators Michael Connor and Lia Gangitano about the art of Jeremy Blake
- Additional artwork by Blake
- Cannes press conference from 2002
- NBC News interview from 2000 with David Phillips, the pudding guy
- Twelve Scopitones
- Deleted scenes
- Mattress Man commercial
- Trailers
Product details
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 3.2 ounces
- Item model number : 43212124
- Director : Paul Thomas Anderson
- Media Format : Widescreen, Subtitled
- Run time : 1 hour and 35 minutes
- Release date : November 15, 2016
- Actors : Philip Seymour Hoffman, Adam Sandler, Emily Watson
- Subtitles: : English
- Studio : Criterion Collection
- ASIN : B01KGR18QG
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #5,543 in Movies & TV (See Top 100 in Movies & TV)
- #549 in Comedy (Movies & TV)
- Customer Reviews:
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I think this was the first such movie I watched, back in 2003 or so, shortly after it came out on video. Related to Barry so much. I was like "wow, I didn't realize film characters could be this painfully human and realistic" lol Anyway, so if anyone out there (of all ages) has ever felt different from the herd, ever felt lost, alienated, or like they don't belong in this world, I'd definitely recommend this movie to you, my fellow misfit and kindred spirit :) If you agree with my review at all, you can mostly find me these days at twitter dot com/ShyLivesMatter Peace :)
𝑰𝒕 𝒎𝒂𝒌𝒆𝒔 𝒎𝒆 𝒔𝒕𝒓𝒐𝒏𝒈𝒆𝒓 𝒕𝒉𝒂𝒏 𝒂𝒏𝒚𝒕𝒉𝒊𝒏𝒈 𝒚𝒐𝒖 𝒄𝒂𝒏 𝒊𝒎𝒂𝒈𝒊𝒏𝒆
Punch-Drunk Love is a 2002 American absurdist romantic comedy-drama film written and directed by Paul Thomas Anderson.
Although susceptible to violent outbursts, bathroom supply business owner Barry Egan (Adam Sandler) is a timid and shy man by disposition, leading a lonely, uneventful life -- partly due to the constant berating he suffers from his seven sisters. However, several events transpire that shake up Egan's mundane existence, one of which is falling in love with one sister (Elizabeth)’s co-worker, Lena Leonard. This romance becomes threatened when Egan falls victim to an extortionist.
Every so often, love and affection prove stranger than fiction. Anderson, no stranger to the absurdities that insert themselves into otherwise ordinary lives, rallies around larger-than-life contentions: here being one in which an obsession with pudding is used for more than comical relief.
Believe it or not, Barry’s seemingly unprecedented fixation in this regard can be linked back to an individual named David Phillips.
In 1999 𝑯𝒆𝒂𝒍𝒕𝒉 𝑪𝒉𝒐𝒊𝒄𝒆 (Who amazingly gave Anderson permission to use their likeness) was running the same promotion described by Barry as he meanders through his day, with Phillips taking full advantage and buying $3,140 worth or 12,150 individual servings of pudding in exchange for 1.25 million airline miles. He was subsequently nicknamed “Pudding guy” by clerks on the regular, and he always came prepared with a story involving ‘The Y2K Problem’ so as to avoid telling his little secret to people such a marketing strategy would be of most benefit to
For 𝑷𝒖𝒏𝒄𝒉-𝑫𝒓𝒖𝒏𝒌 𝑳𝒐𝒗𝒆’s audience, such atypical contention forces a theater of convenience onto its viewers straight out of the gate, and in it is a hint of foolery that reconstructs the energy of its cliches; without it all Barry’s misfortune would speak more to the power of loopholes in the context of self-guided rewards than much else. Here the loopholes clearly matter, but preferential treatment here is given to the people that can see such loopholes for what they are and what happens when they are taken advantage of accordingly.
Even when assuaged by a graceful impact, love in all forms can feel like a fistful of deliverance.
Spinning around the world’s honorary plongeur, Barry’s life in general is nothing worth writing home about: Sometimes literally, given the emasculation he is exposed to by one of his many sisters at any given moment at his expense.
Not one for subtly, 𝑷𝒖𝒏𝒄𝒉-𝑫𝒓𝒖𝒏𝒌 𝑳𝒐𝒗𝒆’s characterization leads with a dependence on snap judgements and the like; with them, Barry is undoubtedly a social outcast with little to show for himself outside of eccentricities that make a target for stigma. As our time with him shuffles along, actions increasingly become louder than words, and the ones that go unspoken are a rather unique venue for world-building.
One can’t miss the irony of Lena being introduced to Barry by virtue of the interactions she has with one of his persistent tormentors, and this serves as a slight sample of insight as to how he is treated when even the privy audience is not watching: not to mention the likelihood that Elizabeth speaks kindly on what makes him ‘weird’ more often than he could ever be aware. This, in combination with Lena’s maintained sense of curiosity, explores love as an extension beyond merely mutual interests and grand-standing gestures: something that many stories where intimacy is a crucial player leave out of their equation.
When consumed in an unprecedented fashion, love so easily leads to intoxication: The most disarming of artillery whose soothing can be remedial in due time.
This sensation hits the ground running with a charismatically restrained lead on Sandler’s part: 𝑷𝒖𝒏𝒄𝒉-𝑫𝒓𝒖𝒏𝒌 𝑳𝒐𝒗𝒆 being a sensitive drama that could be easily ruined by divertive insincerity, and no doubt home of one of his more nuanced performances. As is the case with unspoken words, jittery camera sequences is a manifestation of Barry’s eagerness to see Lena through to the end as more than a distraction from his banal life, and invite what could be nitpicked as tonal inconsistencies throughout.
This is, in so many words, more than simply a story about a duo of misfits catching the attention of one another at just the right moment: what ultimately persists is the extent in which love empowers some to weaponize asininity in whatever way they see fit. This could be a mere stretch on my part, but it is useful to go into 𝑷𝒖𝒏𝒄𝒉-𝑫𝒓𝒖𝒏𝒌 𝑳𝒐𝒗𝒆 with the observation that Barry lives quite the paradoxical life, and reflect on how this guides his interactions with others despite the level of familiarity he has with any one of them.
On one hand, Barry is “too much”. Too weird. Too serious. Too quick to anger. Charging with an impulsivity that reinforces the cradle of isolation he just can’t seem to vacate.
For all of what appears to be driven by excess, Barry is equally motivated by the belief that what he has is too little. Too insignificant. Too spineless. Too exhausted in his onerous effort to find just one person that cares about his well-being both explicitly and with assurance: attributes that are too often capitalized on for the sake of exploiting others. It would be foolish to conclude that Barry’s aptitude for confrontation is directly related to how Lena treats him alone, but what I can suggest is that when given the validation needed, it doesn’t take long for it to act like liquid courage.
In usual fashion, 𝑷𝒖𝒏𝒄𝒉-𝑫𝒓𝒖𝒏𝒌 𝑳𝒐𝒗𝒆 stays true to the slice-of-life approach Anderson uses to explore dynamics where groomed familiarity has overarching repercussions; as such, its preoccupation with loose possibilities over resolve leave much to the imagination.
As is the case with the chaos in our lives, this feature hopes to recognize the magic that happens when people let it happen with more-or-less some involvement on their part as if to make the best out of every cracked window of opportunity. Barry’s existence - and world that might resonate with viewers - is defined by moments where he feels like what he is is “just enough”, and being made to feel like something more makes a world of a difference.
Bought physically and digitally, would buy again, it's just that good.
Top reviews from other countries
For people like me who care about disc art: the disc itself is a beautifully rich, deep shade of blue with the movie's title written in white. It's more minimalist than I expected, but still looks fantastic.
An offbeat and funny story, which I recommend to everyone. With all the special features included, this is also a great addition to any film enthusiast's collection.
Rosí
As for the film itself, Punch-Drunk Love is a quirky, offbeat but otherwise enjoyable romance comedy/drama starring usual comedy buffoon Adam Sandler, who gives a surprisingly incredible performance as Barry Egan, a shy, unconfident salesman of novelty items who has faced abuse from his 7 sisters over the course of his life.
Barry's whole life takes a turn for the strange once he claims a Harmonium (A miniature organ, somewhat like a piano) that has been left on the street, and when one of his sister's mysterious friends named Lena takes an interest to him. In Barry's desperate attempts to free himself from his shell, he gets involved with all sorts of outlandish troubles and quests, to try and break free and become the free spirit he always wanted to be.
As previously mentioned, Adam Sandler is amazing in his role as Barry, giving us a surprisingly nuanced and touching look at this emotionally repressed individual. Emily Watson delivers a similarly mesmerising performance as Lena, with an out-of-this-world quality that draws not only Barry in, but also the viewer as well. There are other terrific and memorable performances, including the late great Phillip Seymour Hoffman, who is responsible for what may be the funniest scene in the film.
Punch-Drunk Love does a great job at balancing personal drama and emotional stakes with comedy that fits the mood of the film perfectly. The score by Jon Brion is at times very percussion-heavy and often reflects the emotional state of Barry at different points in the film, but when necessary, it becomes whimsical, orchestral, romantic and beautiful.
The visual direction is also a sight to behold, with a vivid use of colour and symbolism to create a genius example of visual storytelling.
If you are familiar with Adam Sandler's other comedy films, such as Billy Madison, Happy Gilmore, or Big Daddy (The film that persuaded Paul Thomas Anderson to cast Sandler for this film!), or even his newer, less heartfelt "efforts", then Punch-Drunk Love will either be very refreshing if you dislike that style of humour. If you do like those films, there is a chance this may not be to your tastes. As someone who enjoyed Happy Gilmore, it was very refreshing to see him in a role that suited his unhinged nature, but didn't take a more juvenile path.
Overall, I would say that Punch-Drunk Love is not a film for everyone, it has a lot of quirks and at times can seem a little self-indulgent in terms of certain aspects of the presentation of the film (Random video art interludes anyone?), as they don't appear to hold any meaning or connection to the film, but all of that aside, it is a film definitely worth watching if you fancy something different. And Criterion have absolutely made the definitive home video version of the film, so that should be highly commended as well.
Blu-Ray (Packaging, transfer, bonus features etc.) - 5/5
Film - 4/5
Reviewed in the United Kingdom on August 9, 2018
As for the film itself, Punch-Drunk Love is a quirky, offbeat but otherwise enjoyable romance comedy/drama starring usual comedy buffoon Adam Sandler, who gives a surprisingly incredible performance as Barry Egan, a shy, unconfident salesman of novelty items who has faced abuse from his 7 sisters over the course of his life.
Barry's whole life takes a turn for the strange once he claims a Harmonium (A miniature organ, somewhat like a piano) that has been left on the street, and when one of his sister's mysterious friends named Lena takes an interest to him. In Barry's desperate attempts to free himself from his shell, he gets involved with all sorts of outlandish troubles and quests, to try and break free and become the free spirit he always wanted to be.
As previously mentioned, Adam Sandler is amazing in his role as Barry, giving us a surprisingly nuanced and touching look at this emotionally repressed individual. Emily Watson delivers a similarly mesmerising performance as Lena, with an out-of-this-world quality that draws not only Barry in, but also the viewer as well. There are other terrific and memorable performances, including the late great Phillip Seymour Hoffman, who is responsible for what may be the funniest scene in the film.
Punch-Drunk Love does a great job at balancing personal drama and emotional stakes with comedy that fits the mood of the film perfectly. The score by Jon Brion is at times very percussion-heavy and often reflects the emotional state of Barry at different points in the film, but when necessary, it becomes whimsical, orchestral, romantic and beautiful.
The visual direction is also a sight to behold, with a vivid use of colour and symbolism to create a genius example of visual storytelling.
If you are familiar with Adam Sandler's other comedy films, such as Billy Madison, Happy Gilmore, or Big Daddy (The film that persuaded Paul Thomas Anderson to cast Sandler for this film!), or even his newer, less heartfelt "efforts", then Punch-Drunk Love will either be very refreshing if you dislike that style of humour. If you do like those films, there is a chance this may not be to your tastes. As someone who enjoyed Happy Gilmore, it was very refreshing to see him in a role that suited his unhinged nature, but didn't take a more juvenile path.
Overall, I would say that Punch-Drunk Love is not a film for everyone, it has a lot of quirks and at times can seem a little self-indulgent in terms of certain aspects of the presentation of the film (Random video art interludes anyone?), as they don't appear to hold any meaning or connection to the film, but all of that aside, it is a film definitely worth watching if you fancy something different. And Criterion have absolutely made the definitive home video version of the film, so that should be highly commended as well.
Blu-Ray (Packaging, transfer, bonus features etc.) - 5/5
Film - 4/5
Reviewed in Mexico on January 5, 2024