Other Titles • Punch-Drunk Love • Just Desserts (2001) • Punchdrunk Knuckle Love (2002) • Untitled P.T. Anderson Project (2001) • The X-4 Project (2001)
Release Date: Jun 24, 2003 Region: 1 Runtime: 95 mins Studio: Sony Pictures Home Entertainment Audio:
ENGLISH: Dolby Digital 5.1 [CC] ENGLISH: Dolby Digital Surround [CC] ENGLISH: DTS Stereo [CC] ENGLISH: DD-EX Surround [CC] FRENCH: Dolby Digital Surround
Video:
Widescreen 2.35:1 Color
Subtitles: English, French Packaging: Custom Case Rating: R Features:
Superbit DVDs utilize a special high bit rate digital transfer process that optimizes video quality and offers a choice of both DTS and 5.1 Dolby Digital audio. All Superbit DVDs start with high definition masters and double the bit rate of the original release. 12 Scopitones 3 Theatrical Trailers Blossoms & Blood-A Twelve-Minute Short Piece Featuring Music By Jon Brion and Directed by P.T. Anderson with Adam Sandler and Emily Watson Deleted Scenes Mattress Man Commercial Additional Artwork By Jeremy Blake
A 97-minute Paul Thomas Anderson picture, Punch-Drunk Love concentrates on a tight little story that might have made a subplot for earlier PTA epics such as Boogie Nights or Magnolia. Adam Sandler has a break-out art film lead not by abandoning his usual persona, but by playing his familiar man-child-out-of-control with far more depth than he has shown in Big Daddy.
Though prone to fits of terrifying rage, oddball entrepreneur Barry Egan (Sandler) is essentially sweet and timid, alternately nagged and cajoled by his seven sisters, and intent on exploiting a loophole in a supermarket promotion to convert piles of cheap puddings into unlimited free flights, though he has never actually been anywhere. Over the course of a day Barry enters into two unusual relationships: with a phone-sex girl (Ashley Clark) who runs a scam with "mattress man" (Philip Seymour Hoffman)--by getting Barry's credit card information and declaring a war of extortion--and with hesitant nice girl Lena (Emily Watson), whom he impulsively follows to Hawaii while trying desperately to seem more like a dedicated romantic than a psycho stalker. Anderson's trademark use of loud background music (including a Shelley Duvall track from Popeye) and obsessively repeated bits of dialogue and business make for a controlled film that still seems on the edge of madness. The result is magical, romantic, comic and creepy. --Kim Newman
Movie Database
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