Review: ‘One Battle After Another’ is a thrilling, absurd and heartfelt masterpiece
2025 / Dir. Paul Thomas Anderson
☆ 5/5
Watch if you like: A daily doomscroll that perfectly mixes biting political memes, paranoid conspiracy theories, the latest horrible things happening in the world, Teyana Taylor thirst traps, and that video of Richard Spencer getting punched in the face on loop over and over until the end of eternity.
In Paul Thomas Anderson’s latest masterpiece, Leonardo DiCaprio plays a has-been former revolutionary balancing his personal failures while trying to be a good father as his daughter (Chase Infiniti in her feature debut role and a young actress to keep your eye on) is pursued by a racist Colonel from his activist past. One Battle After Another is an absurdly entertaining journey packed with ideas that could only be conceived by one of our greatest filmmakers.
Set to a minimally intense Johnny Greenwood score that constantly pushes the action forward, One Battle doesn’t let up from the get-go, where we’re dropped into the revolutionary group, the French 75’s dangerous raid to free the prisoners of an immigration camp. It’s here that we see DiCaprio’s “Ghetto” Pat immediately fall for Perfidia Beverly Hills (Teyana Taylor, who should absolutely receive a Best Supporting Actress nomination), a Pam Grier-esque hellraiser updated for modern times.
This is also when Perfidia encounters Colonel Steven J. Lockjaw (a perfectly cast Sean Penn), a ridiculous man who walks like he has the entire patriarchy rammed far up his ass—a perfect encapsulation of the modern-day American “strong” man, wielding both stupidity and power in each hand. Lockjaw quickly becomes obsessed with Perfidia, following her, “Ghetto” Pat, and the rest of their group of revolutionaries as they fight for abortion rights and rob banks to fund their next political action. Though Taylor is only in this beginning section of the film, she packs so much presence, particularly in her scenes with Penn where she quickly taps into Lockjaw’s desire to be dominated by a strong black woman while knowing he could destroy her at any minute.
Years later, Perfidia is on the lam, the French 75 are either dead or scattered, and Pat is now living with his and Perfidia’s daughter as Bob and Willa Ferguson. “Bob” has become a drunk stoner and lovingly befuddled dad to Willa, trying to give her an everyday life while also preparing her to be ready for her parents’ past to catch up with them. And it does, as Col. Lockjaw tries to join the “Christmas Adventurers’ Club,” a secret society of white supremacists who would not take kindly to knowing about his past obsession with Perfidia. Under the cover of an immigration raid on a sanctuary city, he sets out to find Bob and Willa.
This propels the story into its second half, packing every minute with incredible tension, characters and depth. Characters like the serenely calm Sensi St. Carlos (Benicion Del Toro) who helps Bob find a weapon and an escape route from the impending assault by Lockjaw’s thugs. The two men are constantly on the move through an interconnected series of stores, apartments, and safe houses while Bob frets about whether he’s a good father and how to connect with his old revolutionary pals. As he helps him, the Sensei is also arranging for the evacuation of undocumented immigrants and the defense of the town.
And characters like a group of rebel nuns called Sisters of the Brave Beaver, a ragtag group of skaters, a deeply menacing, Patagonia-wearing hitman, and more, fill the screen with a very PTA-specific charm, commotion and hysteria.
There are so many layers at play, demanding multiple viewings to help you fully appreciate all the narrative and cinematic tightrope walking. However, Paul Thomas Anderson ties all these threads together seamlessly, making it all feel like an adrenaline rush. The entire film is like this, balancing absurdist humor, thrills, and a critical and necessary dissection of the state of America, all tied together by the heartfelt connection between Bob and his daughter.
One Battle After Another is undoubtedly the movie of the year and sure to be one of the top films of the decade. It showcases one of America’s finest filmmakers crafting an endlessly entertaining film with something for every moviegoer. If you’re still reading this, thank you, but please stop, drop whatever else you’re doing, and attend the next screening you can.