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

Synopsis
Paul Thomas Anderson follows 1999's MAGNOLIA with the intensely compelling character study PUNCH-DRUNK LOVE. Barry Egan (Adam Sandler) is a quiet, shy, socially awkward man with an office in an out-of-the-way warehouse. He is dedicated to his job as a wholesale toilet plunger salesman, he keeps a nice apartment, and he is obsessed with special offers on grocery store products. Barry's latest fixation is on frequent flier miles included with the purchase of Healthy Choice foods. Barry wears a bright blue suit, though he doesn't know why. With seven outspoken sisters, he is constantly being nagged, questioned, and berated. He is challenged to explain the reasons for his actions, and it eventually becomes clear that Barry cannot control his often-violent impulses, a trait which is increasingly problematic. When a beautiful woman, Lena Leonard (Emily Watson), walks into his life with an instinctive attraction to him, a nonjudgmental attitude, and unconditional love, Barry undergoes a powerful transformation.
Anderson's film is a tour-de-force for which he garnered the Best Director award at Cannes 2002. Set primarily in Los Angeles and Utah, he shoots either bleak deserted spaces (apartment building hallways) or lush, exotic paradises (Hawaii). Aiming for a Technicolor look, the blue of Barry's suit in contrast with Lena's solid pinks, reds, and whites, pops off of the screen. Colorful interludes designed by visual artist Jeremy Blake offer hallucinogenic lapses from the action of the film, while the rapid percussive score by Jon Brion keeps the suspense and the emotional exasperation of the film on a constantly high level.