In Punch-Drunk Love’s unique way, it is about people who are never made movies about- Sandler (Barry) and Watson (Lena) are the outsider couple, both odd, anxiety-stricken, locked into an entirely different orbit from other people, as a piano lands and disrupts a whole life…Barry follows his anxieties and paranoias creating a life of confusion and frustration. He is somewhat of an Inspector Clouseau character, a deathly well-intentioned man out to discover and unlock things lying below the surface, held back by a dim wit and ill-inclined inclinations which lead to moments of topsy-turvy weirdness and puzzlement.
Punch-Drunk Love is something of a fairytale, at times, with the dreamily melodic score by Jon Brion and pillowy-colorful animations throughout. The movie is so tightly strange, it is the kind of strangeness easily digested as the world follows a certain set of established rules and has a distinct rhythm. The same confidently distinct rhythm present in all Paul’s movies. And it is this rhythm that makes Punch-Drunk Love’s trip down confusion lane a wonder.