Fifth about The Seventh

Punch-Drunk Love

Punch-Drunk Love: Paul Thomas Anderson crafts a very odd romantic movie; that does not make it anything less engaging, however. The reason is that, at the center of it all, is a wonderfully interesting character (a brilliant performance by Adam Sandler): twitchy, vulnerable, pathetic (reasonably so, one might add), but eventually (also justifiably so) strong; it’s easy to yearn for his relationship to work. Emily Watson is lovely and enchanting in her role. The rest of the cast is also fine in their limited time, but it’s Philip Seymour Hoffman that creates a memorable character in his two or three scenes. Jon Brion’s musical score (as well as the choice of songs used) add to the sense of unease, and then to the romance; it’s a unique score, but very effective. Robert Elswit’s camerawork is elegant, dynamic, filled with lateral moves and long takes (which server the performers, allowing them to flesh out the acting).


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