Photo courtesy of New Line Cinema Emily Watson and Adam Sandler begin an awkward romance in "Punch Drunk Love," a new romantic comedy from writer/director P.T. Anderson of "Magnolia" and "Boogie Nights" fame.

Grade:

A

Within the first ten minutes of "Punch Drunk Love," you can be certain that Paul Thomas Anderson is behind it. The intoxication begins with a highly metaphorical opening that presents the film's two conflicting themes: chaos and harmony. Following the entrance into this world, we are soaked in a rainbow of Technicolor patterns, breezy romantic music and twinkling stars.

Once again, Anderson ("Boogie Nights," "Magnolia") creates a film that is at times uncomfortable and strange, but all the same beautiful and profound. "Punch Drunk Love" is sweeter and sillier than his other films but not any less challenging.

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You'll quickly discover this is not your typical Adam Sandler film. Until now, Sandler has never really parted with that moronic character we all know so well. Thank goodness he finally did, because in "Punch Drunk Love" he proves that there are depths we've never seen before. His character is quietly vulnerable and desperate, a man who is probably more like the real Sandler than the mindless idiots he usually plays.

Sandler ("Billy Madison," "The Waterboy") plays Barry Egan, a shy guy brought up in a family dominated by seven obnoxious sisters who still tease him relentlessly and try to control his life as if he were a child.

And then a woman comes along, someone he could possibly love ÷ the dashing Lena Leonard, played by Emily Watson ("Red Dragon"). Her character in this film is charming and romantic, a big leap from the dark and emotionally dense characters she usually plays.

Barry's situation becomes complicated when a phone sex company tries to scam him ÷ an ironic situation seeing that Barry is, at the same time, taking advantage of a lucrative frequent flyer promotion by buying an obscene amount of pudding cups ÷ that is a true story, by the way, and what provided Anderson with the initial inspiration to write this film.

That's just about as much plot as I'm willing to give away because what makes "Punch Drunk Love" so enjoyable is all the unexpected twists and turns. The tension is slow and rising, built by Anderson's signature long takes and chaotic percussion sequences. Each scene in "Punch Drunk Love" has a rhythm, a driving motion that sets the pace and carries the story further into a land of almost magical surrealism.

"Punch Drunk Love" is loaded with interludes of dreamy Technicolor artwork and splashes of shining blue lens light. Barry is dressed in a bright blue suit, while Lena always seems to be wearing some matching red or purple skirt and blouse. Their look is classic and old fashioned, just like their love. It's the kind of fairy tale love that could be deconstructed and seen as totally unbelievable, but when a film declares at the beginning that this is no normal world, we must think of it in that context: a senseless love in a senseless world, which isn't, after all, too far from the truth.

These characters don't have reason behind their actions; instead, their motivations are raw and senseless.

Most of the time, we'd like to think that things happen for a reason, that maybe our lives are predestined ÷ neatly plotted out. Things don't happen for a reason in "Punch Drunk Love." Some events cannot be explained; we must accept that premise in order to sit back and see this film for what it is: a giant pulsing work of art whose canvas is the screen.