Rendező:
Paul Thomas AndersonForgatókönyvíró:
Paul Thomas AndersonOperatőr:
Robert ElswitZeneszerző:
Jon BrionSzereplők:
Adam Sandler, Emily Watson, Philip Seymour Hoffman, Luis Guzmán, Mary Lynn Rajskub, Robert Smigel, David Stevens, Jonathan Loughran, Don McManus (több)Tartalmak(1)
Barry egyszerű fickó, magába forduló alkat. Képtelen feloldódni mások társaságában, ugyanakkor nem ritka a váratlan dühkitörés nála. Leginkább a munkája érdekli. Emellett gyűjti a pudingos dobozokon lévő kuponokat, remélve, hogy egyszer megnyeri a fődíjat. A nők terén a hét nővére tölti ki az életét, meg a telefonszex. Egyik nap azután minden megváltozik. Egy fiatal nő, Lena a férfi boltja melletti autójavító előtt hagyja a kocsiját, és annak kulcsát Barryra bízza. Hamarosan kölcsönös vonzalom alakul ki köztük. Bimbózó szerelmüket azonban beárnyékolja egy kifizetetlen (szex)telefonszámla. Az erőszakos Dean zaklatni kezdi emiatt Barryt. (HBO Europe)
(több)Recenziók (7)
For P.T. Anderson an unusually short running time, but the enormous potential of this film has been exploited to the hilt. This is no longer "just" (it must be added that this "just" will forever remain a mystery to most filmmakers) a brilliant script supported by extremely imaginative direction, but one of the most impressive films I have ever seen, one with extraordinary charm and enormous heart. In the moments when Barry (Adam Sandler not only surprises but plays his role superbly) suppresses a huge amount of anger, helplessness, and revulsion, I felt a little (a lot) like that – it just blew me away because there is so much feeling and emotion in it I couldn't even manage to "live out" three times :))
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A Magnólia című film érzelmileg szétszakított, a Boogie Nights film fantasztikusan szórakoztatott. De a Kótyagos szerelem című film - bármennyire innovatív és ötletes módon is rendezett - egyáltalán nem érintett meg. Látványosan stilizált üresség. Érzelmileg és intellektuálisan is.
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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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Punch Drunk Love will not inebriate you, but it will put you in a good mood, even despite of Sandler. It will improve your mood just a little, but it will.
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Drunk with confusion. Sometimes the line between a peculiar comedy and a strange attempt at one is just too thin. Paul Thomas Anderson was going after the one for so long that he ended up taking a few steps towards the other. I was looking for the promised romance of a lifetime, believable performances, and the feeling of finding myself. Instead, I just 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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Paul Thomas Anderson and I probably won't ever be close friends. I don't enjoy his films for their pace or concept. Adam Sandler shows that he can act, and I'm glad for that, but even with his presence, I couldn't quite get into the film. The long, tedious shots just didn't engage me, even though at times I thought the story was unfolding quite unexpectedly.
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