3. Punch-Drunk Love (2002)
A sort of screwy, oddball film for Paul Thomas Anderson, most didnt know what to do with Punch-Drunk Love upon its arrival. It came between the Altman-style epics that had made Anderson famous (Boogie Nights, Magnolia), but before the meticulous character studies that hes now known for (There Will Be Blood, The Master). But just because Punch-Drunk Love is a lighter affair than the rest of his work doesnt mean it should be so easily dismissed. Instead, Punch-Drunk Love can be looked at as a playground for Anderson to indulge in a slew of creative tricks and techniques as a director. He toys with the sound and color of the film to not only engage the audience, but also to place us in the simultaneously distant, dreamy and anxious mindset of his main character, Barry Egan (Adam Sandler). Even though Anderson took home Cannes Best Director prize for Punch-Drunk Love, audiences were still a bit uneasy about the film, possibly because it was Adam Sandlers first foray into dramatic acting. But Sandler holds up his end of the film well, displaying a quiet kind of nervous rage that makes us root for him to find happiness even harder. It isnt Andersons most important effort, but its a film thats meant to delight us, and in that respect, its completely on point.