Punch-Drunk Love
Regie:
Paul Thomas AndersonDrehbuch:
Paul Thomas AndersonKamera:
Robert ElswitMusik:
Jon BrionBesetzung:
Adam Sandler, Emily Watson, Philip Seymour Hoffman, Luis Guzmán, Mary Lynn Rajskub, Robert Smigel, David Stevens, Jonathan Loughran, Don McManus (mehr)Streaming (1)
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Es muss sich etwas ändern im unausgefüllten Leben von Barry Egan. Sein neu gegründetes Kleinunternehmen erzielt nicht die nötigen Gewinne, seine sieben Schwestern tyrannisieren ihn und es scheint keinen Ausweg aus seinem tristen Single-Leben zu geben. Um eine sinnvolle Beschäftigung zu haben, sammelt er Gutscheine auf Puddingbechern, die ihm etliche Bonus-Flugmeilen einbringen sollen. Sein Leben wird noch komplizierter, als er, um seiner Einsamkeit zu entkommen, bei einer Telefonsex-Nummer anfruft: Promt wird er von der Phone-Sex-Sister Latisha und ihrem brutalen Boss erpresst. Doch in diesem Moment tritt die geheimnisvolle Lena in sein Leben - und plötzlich ist nichts mehr wie es war. Als Lena schließlich nach Hawaii reist, beschließt er, aus seinem Leben auszubrechen und ihr zu folgen. Doch ganz so einfach lassen sich Pudding-Bonusmeilen nicht einlösen... (Universal Pictures Germany)
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Magnolia hat mich emotional zerrissen, Boogie Nights war fantastisch amüsant. Aber Punch-Drunk Love – auch wenn er eine innovative und einfallsreiche Regie hat – hat mich gar nicht berührt. Eine effektvoll stilisierte Leere. Emotional sowie intellektuell.
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I love P.T. Anderson's films and consider him a genius, but this is a step backwards. A brilliant directorial, genre-unclassifiable flick, but the plot is absolutely nothing, without any emotions or deeper message. There are a few promisingly conceived motifs, when I thought "this could be interesting", but before he can elaborate on them Anderson suddenly cuts them off, doesn't finish them and leaves a strange aftertaste on the tongue of the film gourmet. I'm not saying it has to work that way for other viewers, but it did for me, and with the beginning of the closing credits I realized that the film didn't really give me anything at all, although I love this kind of cinematic escapades. PS: I wasn't expecting it, but Sandler was excellent and his irresistible declaration of love in Hawaii made me laugh out loud.
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Paul Thomas Anderson and I will probably never be close friends. I don't really enjoy his films due to their pace and concept. Adam Sandler shows in this piece that he can act, and I'm glad for that, but despite his presence, I could not get into the movie. The long, boring shots just didn't captivate me, even though at times I thought that the story was developing quite unexpectedly.
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Drunk with confusion. Between a peculiar comedy and a strange attempt at it, there lies sometimes a too thin line. Anderson followed it for so long, until he took a few steps towards the other possibility. I was looking for the promised life romance, believable performances, and the feeling of finding myself. Instead, I got lost.
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Paul Thomas Anderson in to film what like Picasso is to painting, disjointed, abstract, and hard to decipher. Most conventional viewers won't understand him, and a large number of seasoned viewers won't accept him for various reasons, because he is not classical enough and regrettably has the unfortunate quality that his films always seem to have something "more", but that's not always true, which is exactly the case here. Sandler is excellent.
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