What in the EVERLOVING FUCK did I just watch?

What in the EVERLOVING FUCK did I just watch?

Good shit

moobie

An autistic love story. Great movie

A film

One of the few good Sandler movies.

You got memed. Plain and simple

doo doo pee pee adum sandwer!!!

no

a surprisingly strong performance from Adam Sandler
and not even by really changing much about what he normally does in his normal movies

Dude makes the Driver look completely normal.

So that's that mattress man.

Adam Sandler movie where people react to his Adam Sandler antics in a realistic manner.

John Wick, eat your heart out.

I don't think going to the store with him and helping him buy pudding is a very realistic reaction.

Actual Sandler kino
this and Click of course

Fuck Click. I cannot believe you just compared Click to Punch Drunk Love.

not really compared, but they're 2 palatable sandler movies

"Punch-Drunk Love" I'm guessing, based on the picture you posted.

kind of upsetting he got so much shit for it from normies (at least from my perspective) pushing him back into his usual shit.

genuinely thought that was Reggie Fils-Amie

It's a low-key capeshit film, just like Unbreakable.

>No Bedtime Stories

You're no Sandler fan.

I still think about how cool it would've been if he'd taken the Eli Roth role in Inglourious Basterds, as originally planned

the last watchable sandler movie

Click is preachy nonsense that stuck all its "funny" moments in the trailers and used the majority of its runtime for a terrible attempt at a tearjerker. I don't understand how people like it. Because it reminds them how they ignored their fathers?

This and Man of Steel are the best Superman movies imo

I'll be brief. It's always a very small, little detail that seems to ignite all my fan theories. In the case of Punch Drunk Love, it was when Barry (played By Adam Sandler) said he had "Seven Sisters"

As a fan of astronomy I know that there is a star cluster called: "Pleiades" that has the nickname: "The Seven Sisters"

What's up with that?

Well, Superman has his origin in outer space. And what's funny is that whenever Barry is around his sisters he "freaks out". He can't control himself and his sisters represent his weakness in the film. Could they be his Kryptonite?

His suit certainly tells a Superman story. Blue suit. Red tie.

His girlfriend's name is Leena Leonard. "L.L." like Lois Lane and most other girls Supe is interested in.

Superman can fly. And what does Barry do in the movie? He exploits a frequent flyer program, gets a million miles of free air-travel and can now FLY anywhere he wants for the rest of his life.

Superman has super strength? Does Barry? Yes. Seems like a joke at first when he breaks the handle of an unbreakable plunger. Then he goes on to punch a bathroom door off its hinges. He slams a car door so hard in one scene the camera shakes and he punches a map into a concrete wall so that the edges of the map hang and the map itself is stuck into the punch hole.

Punch Drunk Love is all about Superman.

only adam sandler movie thats isnt shit

God, I hope not.

Suck on this, buddy.

fuckin capeshit threads

reign over me

Sandler Kino

A subversion of the typical Adam Sandler comedy

jew head

Punch-Drunk Love, its an Adam Sandler movie

Thanks, ThePest.

Kino

>every single Fantastic Four movie
I'm impressed.

YOU BETCHA!

gonna save this to my reddit folder

The best Sandler movie and the worst Anderson film

PTA's best movie.

Not sure who to believe...

Is this pasta?
Did you read this anywhere or come up with it all on your own? If originally thought by you, thats interesting af

>becomes extremely powerful when he is angry
>people think he's Superman and not the Hulk

I got it straight off Reddit.

what the fuck did Solaris do to get put in this list?

It's the George Clooney version.

That's the 70's version, you fool

so since he went crazy should we still call him superman?

Your mom is the 70's version.

HE NEEDS ME HE NEEDS ME HE NEEDS ME HE NEEDS ME HE NEEDS ME

Foremost among the film's many running gags is Barry's powder-blue suit, which he consistently fails to explain. The suit is its own explanation, Barry's costume, the source of his totemic individuality as marked out for the audience as much as his fellow characters. Brion's score is Barry's internal theme song, driving him not to save the city but to charge madly around his warehouse, his echoing fortress of reluctant solitude. There, he seethes with odd, quixotic obsessions (plungers and pudding), both laughable and strangely compelling from the outside. There's a waifish, adoring damsel (Watson) and a distant femme fatale (an exploitative phone-sex operator), but neither drives Barry's redemption forward. What does is a mysterious accident, which inexplicably grants him an external representation of his inner otherworldliness: a harmonium, on which he composes dissonant, resonant drones. Sounds like an origin myth to me.

In romantic terms, Barry's seven sisters are a lazy plot device, propping up the same sketched misogyny that haunted Magnolia. In a superhero tale, those seven (a fantastic number!) are something decidely more allegorical: the square society Barry can't jive with. Barry's war was cast by some observers as a loner fighting off an oppressive society that refuses to recognize his "sensitivity." Bull. He's not sensitive, he's obsessive, and that society isn't exactly oppressive--that's PTA's real twist on the superhero legacy. The world outside Barry's factory is shabby, selfish, and faintly absurd. The battle lines are nothing quantifiable. Instead, it's a question of perspective: the aesthetic comes back into play, tying us closely to Barry's feverish viewpoint while keeping his outbursts (e.g., smashing a sliding glass door) unpredictable and inexplicable. He's not cast as crazy, a locus of pity for a sane world and a sober film. He's the subject, not an object.

Sandler, of course, is perfect for this role. His crazed passion is worlds beyond the quirkily depressive antics of Tobey Maguire's Peter Parker. On the one hand, he's more than a little pathetic, caught in the crossfire of a phone-sex scam and his controlling family, collecting airline miles with no independent desire to go anywhere. On the other, his madness goes hand in hand with devotion, fearlessness, and an astonishing ability to kick ass when called upon to do so. His nemesis may just be "Mattress Man" (an irreplacable Philip Seymour Hoffman, finally given his due by PTA), but Barry still triumphs over him, and tied as we are to our hero's perspective, the triumph is oddly moving rather than ironic. Consider all of Sandler's previous on-screen incarnations his hammed-up Clark Kent. This is his true alien form, unleashed to wander through appropriately abstracted sets: supermarkets and tropical islands take on the weighty but transparent qualities of the best fantasy.

In hindsight, of course, Punch Drunk Love is a transitional work, excising the frustrated ambitions of PTA's late-90s work on the way to the transcendent unity of direction and performance in There Will Be Blood. As such, Love feels hermetic, a carefully controlled experiment in which nothing so messy as love is allowed to survive. Still, it's a fascinating, successful experiment, one of the genuinely unique films of the Aughts--a dead-end trail, but one I'm glad PTA blazed.

BLAZE IT

DUCK SEASON FIRE