"I have a love in my life. It makes me stronger than anything you can imagine."

I feel like I've said everything I have to say about this movie but I have so many feelings everytime I see this. I have never been able to relate to any character quite as much as Barry Egan. He's me when I'm happy, he's me when I'm angry, he's me when I'm sad, and he's me when I'm in love. I've found someone that makes me as happy as Barry is with Lena. I'm glad I have them and that I have this movie in my life. 

"So here we go."

A movie about one of those important things we've been looking for all our lives: making real contact with another person. And let's not fool ourselves: no matter how strange we are, breaking bathrooms and throwing hammers around, there is someone out there who will understand us. and deep down, that's all that matters.

93

(35mm)

There's such an energy to this thing. At once bouncy and smooth and mechanical and confrontational. Car crashes give way to music, violent outbursts lead to sweeping walks in the gleaming blue city side streets, and frantic sprints down faceless hallways culminate in a kiss. Still has one of the biggest 'wow' moments in a movie, as Barry calmly rejects the chaos around him with a simple "I don't know" before Jon Brion's musical score overtakes the theater space, colliding with the blooming mirage of shapes, colors, and stars. The fact that this isn't even in my top 5 favorite Paul Thomas Anderson films should tell you a little bit about just how much I love the guy.

"I don't know if there is anything wrong because I don't know how other people are."

Rarely does a film look good, sound good, and feel good all at once. Throughout my viewing I was 90% sure this was a Charlie Kaufman script, it feels the same brand of awkward as Being John malkovich but with way more heart put into it. The score fits the tone so well without seeming like it’s trying to control the mood of the audience. The cinematography is beautiful and very deliberate. My favourite Paul Thomas Anderson so far.

WHY DOES ADAM SANDLER MAKE SHITTY FILMS LIKE GROWN UPS WHEN HE COULD BE MAKING AMAZING FILMS LIKE THIS

Wedding anniversary watch. Good time.

Almost all the films I review in the near future are going to be five stars, because I have a long list of top rated films I haven't seen yet. This one was  no exception. The only other PTA film I had seen before this was There Will Be Blood, after which I fell in love with his style. It is the only film I forgive for denying Roger Deakins an Oscar. 
PDL is the best Adam Sandler movie ever made. That may not seem to be saying much, but he does have films like The Meyerowitz Stories under his belt, and this tops all that. The signature long takes and steady cam are brilliant, but I especially love that one scene where Lena is on the hospital bed and Barry seems to be looking at her, but it's revealed that there's a curtain between them. It's something that can only be done with film, and that's why it's brilliant.

I considered stopping the film many times because it made me feel severely anxious and I guess that was because of how I was relating to Barry. I felt really bad for him and seeing him go through all that and potentially lose important things in his life that keep him in control, like his job or Lena just made me very uncomfortable. I'm glad I stuck around until the end because he's really just a downtrodden character and a big part of me just wants everything to go right for him. The soundtrack also complimented the film in a big way even though it added to the anxiety I was feeling.

i have no words

I don't know how but this was even better to watch when going through a psychotic state of my own, and coming up with ideas based around certain ideas in this and meshing them together kinda.