One Battle After Another (2025) Movie Review: Paul Thomas Anderson Delivers His Most Urgent and Politically Charged Masterpiece Yet

Written and directed by Paul Thomas Anderson, "One Battle After Another" is a 2025 action-thriller that marks the filmmaker's first collaboration with Leonardo DiCaprio and his return to contemporary American storytelling after decades exploring the past. Distributed by Warner Bros. with a reported budget between $130-175 million, this 162-minute epic stars DiCaprio as Bob Ferguson, Sean Penn as Col. Steven J. Lockjaw, Teyana Taylor as Perfidia Beverly Hills, Chase Infiniti as Willa, and Benicio del Toro as Sensei Sergio St. Carlos, with supporting performances from Regina Hall, Tony Goldwyn, and others.

Released on September 26, 2025, the film follows a former revolutionary living in paranoid exile who must rescue his teenage daughter when the military officer he once wronged comes hunting for them both. Loosely inspired by Thomas Pynchon's novel "Vineland" but updated to reflect contemporary American anxieties about immigration, authoritarianism, and white nationalism, this represents Anderson's most explicitly political work and his largest-scale production to date. The film matters not simply as another entry in Anderson's extraordinary filmography, but as a rare example of a major studio backing an uncompromising artistic vision that directly confronts the current political moment with both fury and surprising tenderness.

Story and Screenplay: Pynchon-Inspired Chaos Grounded in Paternal Love

Anderson's screenplay opens with kinetic revolutionary action as the French 75, a far-left militant group, stages an assault on an immigrant detention center near the Mexican border. These early sequences establish the film's breakneck pacing and introduce the central triangle of Bob, firebrand revolutionary Perfidia, and the military officer Lockjaw whose sexual obsession with Perfidia will drive much of the conflict. The narrative then leaps forward sixteen years to find Bob living as a substance-using recluse raising his daughter Willa in the sanctuary city of Baktan Cross, his revolutionary fervor replaced by paranoid lethargy.

The structure employs Anderson's trademark technique of beginning with rapid-fire exposition and shorter scenes before allowing the drama to expand and breathe as relationships deepen. This creates extraordinary momentum in the first act as we witness bank robberies, bombings, sexual transgressions, betrayals, and the dissolution of the French 75 in compressed timeframes that establish backstory efficiently. Once the timeline jumps forward, the pacing remains propulsive but finds room for character development and thematic exploration.

The screenplay tackles weighty political themes without becoming didactic or sacrificing entertainment value. Anderson creates a near-future America where detention centers warehouse immigrants, unidentified military forces conduct raids in sanctuary cities under false pretenses, and a secret cabal of Christian white nationalists called the Christmas Adventurers Club manipulates government power to maintain racial purity. Yet the film never feels like heavy-handed allegory because these political realities serve character-driven drama rather than the reverse.

The thematic heart concerns how time transforms revolutionaries into parents, how idealism yields to survival, and how the next generation inherits battles their elders failed to win. Bob's journey from bomb-throwing radical to bathrobe-wearing stoner dad attempting basic parental competence provides both comedy and pathos. The script argues that raising children with love and conviction in a hostile world constitutes its own form of revolution, perhaps more meaningful than the violent disruptions that characterized Bob's youth.

Anderson's appropriation of Pynchon maintains the novelist's absurdist humor and paranoid atmosphere while stripping away much of the source material's specific 1980s Reagan-era context to create something unmistakably contemporary. Character names like Perfidia Beverly Hills and organizations like the Christmas Adventurers hint at Pynchon's playful absurdism, but the film grounds these cartoonish elements in performances and direction that make them feel frighteningly plausible rather than purely satirical.

Acting and Characters: DiCaprio's Comic Genius Meets Penn's Controlled Menace

Leonardo DiCaprio delivers a performance that ranks among his finest work, playing Bob as a dissolute burnout whose protective paternal instincts war with his substance-addled incompetence. DiCaprio has demonstrated considerable comedic gifts in recent collaborations with Scorsese and Tarantino, and Anderson harnesses that talent fully here. Bob stumbles through the film in a plaid bathrobe and beanie, perpetually stoned, guzzling beer, and struggling to remember revolutionary passwords while his daughter's life hangs in the balance. The performance is consistently hilarious, but DiCaprio never loses sight of Bob's genuine love for Willa or his terror at failing to protect her.

The actor's physical comedy shines in sequences where Bob attempts competent action-hero behavior despite being thoroughly incapable of it. Yet DiCaprio also locates deep wells of emotion in quieter moments, his eyes conveying decades of regret, fear, and desperate hope. This represents the kind of role that allows DiCaprio to showcase his full range rather than relying solely on intensity or gravitas, and he seizes the opportunity brilliantly.

Sean Penn creates an unforgettable villain in Col. Lockjaw, a performance of controlled malevolence that never tips into caricature despite the character's outrageous qualities. Penn plays Lockjaw as tightly wound and deeply insecure, a military man whose rigid bearing barely contains boiling rage and sexual dysfunction. The actor makes fascinating choices in moments that could have been played broadly, like awkwardly licking his comb before grooming himself or positioning himself submissively during his sexual encounter with Perfidia. Penn ensures we recognize Lockjaw's vulnerability and self-loathing even as we recoil from his cruelty and hypocrisy.

Teyana Taylor explodes onto the screen as Perfidia, embodying revolutionary conviction with magnetic intensity. Taylor makes Perfidia simultaneously admirable in her refusal to compromise and troubling in her willingness to abandon motherhood and betray comrades for self-preservation. The performance communicates the character's struggle with depression and guilt following childbirth without softening her essential hardness. Taylor's work in the opening act establishes the emotional stakes that resonate throughout the remainder of the film.

Chase Infiniti, making her feature debut as teenage Willa, holds her own against seasoned veterans with remarkable poise. Infiniti plays Willa as both vulnerable and tough, a young woman shaped by her father's paranoia but possessing inner strength he's failed to recognize. Her scenes confronting Bob about his drug use or demanding truth about her family history crackle with authentic adolescent frustration. When the film requires Willa to become an active participant in the chaos surrounding her, Infiniti handles the transition beautifully.

Benicio del Toro brings his characteristic cool presence to Sensei Sergio, Bob's ally and the film's embodiment of calm resistance. Del Toro plays the martial arts instructor as unflappable and pragmatic, someone who understands that fighting oppression requires patience and community rather than grand gestures. His chemistry with DiCaprio in their shared scenes provides crucial grounding, and his delivery of the film's recurring refrain about freedom and fearlessness lands with understated power.

Regina Hall appears too briefly as Deandra, a French 75 member who aids Willa, but makes a strong impression in limited screen time. The supporting cast of Christmas Adventurers, including Tony Goldwyn, creates appropriately chilling portraits of banal evil masquerading as exclusive fellowship.

Trailer One Battle After Another (2025)

Direction and Technical Aspects: Anderson Working at Maximum Scale and Confidence

Paul Thomas Anderson directs with the assurance of a master filmmaker operating at the height of his powers and with the largest budget of his career. He utilizes that scale not for empty spectacle but to create visceral action sequences that serve character and theme. The film's two major car chases demonstrate Anderson's unexpected facility with action filmmaking. The climactic pursuit across the oscillating hills of Highway 78 builds almost unbearable suspense through patient composition and strategic camera placement rather than rapid cutting or CGI enhancement.

Cinematographer Michael Bauman, reuniting with Anderson after "Licorice Pizza," shoots the film in VistaVision to create images of extraordinary depth and detail. The visual style combines warm, earthy tones for scenes with Bob and Willa with colder, more formal compositions for Lockjaw's world. The cinematography captures the sun-bleached beauty of the California desert while also finding menace in empty roads and blind summits. Anderson and Bauman create several jaw-dropping images, including helicopter landings, rooftop chases, and the simple power of close-ups that bring us into intimate proximity with the actors.

The editing by Andy Jurgensen maintains relentless forward momentum even during the film's nearly three-hour runtime. Anderson employs his signature technique of intercutting between multiple storylines to create thematic parallels and build tension. A sequence interweaving Bob's parent-teacher conference preparation, Lockjaw's conditional acceptance into the Christmas Adventurers, and Sergio's protection of hidden immigrants demonstrates Anderson's mastery of parallel editing as a storytelling and thematic tool.

The production design creates a recognizable but heightened version of contemporary America where fascistic imagery exists alongside mundane suburban life. The detention centers, military gear, and Christmas Adventurers' meeting rooms all feel disturbingly plausible rather than science-fictional. The design work supports Anderson's vision of a society sliding toward authoritarianism while most people simply try to survive.

Music and Atmosphere: Greenwood's Propulsive Score and Perfect Needle Drops

Jonny Greenwood, Anderson's frequent collaborator, delivers one of his most urgent and memorable scores. The music drives the film forward with relentless energy, featuring anxious piano runs that ascend and descend like someone frantically searching for escape before being swallowed by crashing orchestral waves. The score functions almost like a metronome of suspense, maintaining tension even during quieter character moments. Greenwood's work here recalls the emotional intensity of his "Magnolia" score while incorporating the modernist experimentation of his more recent compositions.

Anderson's use of needle drops proves equally inspired. The juxtaposition of "Soldier Boy" by The Shirelles during the disturbing sexual encounter between Perfidia and Lockjaw creates uncomfortable tonal dissonance that makes the scene more unsettling. Steely Dan's "Dirty Work" underscores Bob's exile lifestyle with ironic commentary on his situation. These musical choices feel organic rather than ostentatious, enhancing scenes without overwhelming them.

The overall atmosphere balances dark political horror with surprising comedy and genuine warmth. Anderson creates a world that feels oppressive and dangerous while never losing sight of human connection and the possibility of resistance. The tone shifts fluidly between laugh-out-loud comedy, nail-biting suspense, shocking violence, and tender father-daughter moments without any single mode feeling jarring or out of place.

Strengths and Weaknesses

What Works Well:

• Leonardo DiCaprio delivers a career-best comedic performance that never sacrifices emotional depth or pathos
• Sean Penn creates one of cinema's most memorable recent villains, bringing controlled menace and surprising vulnerability to Col. Lockjaw
• Chase Infiniti announces herself as a major talent in a demanding debut role
• Paul Thomas Anderson's direction demonstrates complete mastery of large-scale filmmaking while maintaining his distinctive voice
• The screenplay tackles urgent political themes without becoming preachy or sacrificing entertainment value
• Michael Bauman's VistaVision cinematography creates stunning images throughout
• The climactic car chase across oscillating desert hills builds extraordinary suspense through patient visual storytelling
• Jonny Greenwood's score propels the narrative with relentless energy and emotional weight
• The film finds genuine humor in Bob's bumbling incompetence without undermining the stakes or his love for Willa
• Anderson's appropriation of Pynchon creates something that feels both playfully absurd and frighteningly contemporary
• The entire ensemble cast delivers exceptional work without a weak link

What Doesn't Work:

• The nearly three-hour runtime may test patience for viewers expecting more conventional action-thriller pacing
• Some viewers may find the political commentary too on-the-nose or aggressive in its timeliness
• Regina Hall and a few other talented supporting players receive insufficient screen time
• The opening act's rapid pacing and dense exposition could prove disorienting for some audiences
• The film's tonal shifts between comedy, horror, and drama, while masterfully handled, may not work for all viewers
• Those unfamiliar with Pynchon's sensibility might struggle with some of the more absurdist elements

Final Verdict: A Generation-Defining Masterpiece That Captures Our Moment

Rating: 5/5 stars

"One Battle After Another" earns its perfect 5-star rating by accomplishing what few films of its scale and political urgency manage: creating an uncompromising artistic statement that also functions as thrilling, emotionally satisfying entertainment. The unanimous critical acclaim and highest ratings from reviewers reflect a film that works brilliantly on multiple levels simultaneously. This represents Paul Thomas Anderson at the absolute peak of his considerable powers, synthesizing everything he's learned across three decades of filmmaking into his most ambitious and accessible work.

This film is essential viewing for anyone who cares about American cinema operating at its highest level. Anderson's longtime admirers will find this his most urgent and politically engaged work, while those who've found his recent films too oblique or precious will appreciate the directness and propulsive energy. Fans of intelligent action cinema that respects audience intelligence will discover a rare example of spectacular set pieces serving character and theme. Those interested in films that grapple with contemporary political anxiety without descending into despair will find both catharsis and hope in Anderson's vision.

The film also rewards anyone who values exceptional performances, as DiCaprio, Penn, Taylor, Infiniti, and del Toro all deliver work worthy of awards recognition. Cinephiles who appreciate technical mastery in cinematography, editing, sound design, and score will find endless pleasures in the craft on display. Parents, particularly fathers, may find the film's exploration of imperfect parenting and generational responsibility deeply moving despite the outrageous circumstances.

However, viewers seeking escapist entertainment without political content should look elsewhere, as this film directly confronts American authoritarianism, racism, and violence in ways designed to provoke thought and discomfort. Those with limited patience for extended runtimes or films that balance wildly different tones may struggle with Anderson's approach. Anyone expecting conventional heroism or clear moral victories will be challenged by a film that argues survival and love constitute their own forms of resistance even when larger battles seem lost.

Ultimately, "One Battle After Another" stands as that rarest of achievements: a major studio film with massive commercial ambitions that never compromises its artistic vision or political convictions. Anderson has created a work that captures the anxiety, absurdity, and fragile hope of living in America during this particular historical moment while telling a timeless story about flawed people trying to protect what they love. It's thrilling, hilarious, heartbreaking, and absolutely essential. This is the kind of film that defines generations and reminds us why cinema matters.