One Battle After Another

Wow, what a wild ride. You’re constantly on the edge of your seat. If you’re looking for a cozy, relaxing night at the movies, forget it.. your chair will be yanked out from under you. There’s no room for comfort or rest here. It’s masterful.

FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/one-battle-after-another-movie-review-a-star-is-born-in-one-of-the-years-best-and-most-important-films/ "One Battle After Another is a technical feat, a movie with brilliant performances and a thematic density that can only be truly processed after multiple viewings over time. It's a chaotic, intense, and surprisingly hilarious examination of the state of America, the weight of history, and how the fight for a better future is passed from one generation to the next. The entire cast is phenomenal, but newcomer Chase Infiniti is a true revelation, delivering a captivating and emotionally powerful performance that perfectly embodies the theme of generational hope. While I don't share the hyperbole generated by the initial reactions, it's clearly one of the most important and well-made films of the year. Driven by a masterful score and a sharp script from Paul Thomas Anderson, where every detail matters, it's a dense story about the battles we cannot escape and the family we fight for. Rating: A-

The undisputed film of the year has only been in theaters for 4 days, yet it has already captivated audiences and critics alike, and not without reason. Amidst hundreds of mediocrities released every year, a film finally emerges that emphatically has something to say. And indeed, at the most suitable social and historical moment. The film narrates the lives of people who chose to take action against the man-eating capitalist system of the 21st century, which inevitably degenerates into a fascist regime when reactions grow. And primarily, it focuses on the consequences these individuals face from the vengeful state apparatus, which sweeps away anything and anyone who dares to oppose it. The film was released in theaters on September 26, 2025, before the first year of Donald Trump's second presidential term was even completed, and more than 3 years before the next presidential elections. Paul Thomas Anderson (PTA), writing and directing One Battle After Another, takes a clear political stance on what is happening in the United States and globally. The film may take place in the US, but it does not focus on specific individuals, not even as institutions, and thus could refer to any country where democracy is ailing. The mastery of direction and the musical score is such that time flows relativistically quickly for the viewer, making the nearly 3-hour duration evaporate before you realize you’ve entered the theater. From a directorial perspective, new pages of cinematic history have been written, culminating in the car chase on the hilly Texas Dip highway of Borrego Springs. The performances of the exceptional cast are all very good, without any one standing out as Oscar-worthy. Sean Penn once again showcases his talent in the role of the villain, possessing the unique gift of becoming truly unlikable to the viewer in such roles (see Carlito’s Way, etc.). However, the essence and power of the film is undoubtedly its political message. Through the vehicle of fiction, Paul Thomas Anderson releases his political manifesto, which leaves no room for misinterpretation. From the title of the film to the shot of DiCaprio watching the film "The Battle of Algiers" by Gillo Pontecorvo, the message is clear. When democracy and individual freedoms are under attack, citizens must take action. In contrast, however, to "The Battle of Algiers," where we observe, in part, historical events that took place during Algeria's liberation struggle against French imperialism, in Anderson's film we become spectators of events that have not yet occurred, at least not in the United States. Yes, protests, and indeed massive ones, have taken place and are happening more frequently lately. But the film One Battle After Another does not propose sit-ins and placards as a solution. On the contrary, it primarily serves as a manual on the "how:. The "when", is still unknown. One thing is certain. American society is boiling. And some are preparing. On both sides.

A group of would-be revolutionaries in the USA storm an immigration centre and whilst they manage to free many of it’s captives, their leader “Perfidia” (Teyana Taylor) manages to make quite an impression on it’s commander “Lockjaw” (Sean Penn). Sadly for her though, she doesn’t remain free for very long afterwards but in that meantime she and fellow rebel “Bob” (Leonardo DiCaprio) have managed to have a baby. Spool on and now she is a teenager living quietly with her dad, entirely unaware of her dangerous provenance. “Lockjaw” has no intention of forgetting the slight paid to him, and when he cottons on to their location he sends in his heavies. She is apprehended, he escapes, and the rest of this follows his adventures as he tries to mobilise his old friends and rescue his daughter “Willa” (Chase Infiniti). Now this looks great, the pace is pretty break-neck and the dialogue is quick-fire and frequently quite pithy as we merge a series of scenarios that reminded me of the “A-Team”. DiCaprio looks like he is enjoying himself, as does Penn, but both of their characters and the underlying conspiratorial plot are disappointingly undercooked as the adventure builds and to it’s high octane conclusion. Does it really need to be so long? I’m not so sure. It does come across as a little disjointedly episodic at times but it is also politically bang-on (depending on your perspective) as it capitalises on currently salient points around immigration, corporatisation and militarisation. I didn’t love it and I do think it has been over-hyped, but it’s still a solidly entertaining watch.

A pretty dang good movie. Feels like it takes place in a not too distant american future, and in some ways feels like it takes place in the same universe as civil war. But that's not to say it bears any resemblance to that movie. The action and manic energy of this movie had me locked in from the beginning. And bonus points for putting me in the holiday spirit thanks to the Christmas Adventurers club! Viva la revolution!

No matter how much we like to think that life’s bigger concerns have the greatest influence in dictating our actions, it’s nevertheless curious to see how the issues that affect us most personally – those seemingly “smaller” considerations – ultimately hold the most sway over our behavior. That becomes apparent in this latest offering from writer-director Paul Thomas Anderson, based on the 1990 novel Vineland by author Thomas Pynchon. In a quasi-dystopian version of America, a battle for control of the nation’s cultural and sociopolitical direction simmers between leftist vigilante rebels known as the French 75 and conservative authoritarian figures supported by the military and quietly backed by a moneyed class of ultra-right wing White supremacists known as the Christmas Adventurers. But, despite the magnitude accorded to this struggle, in the end, events in the personal lives of the combatants’ individual operatives have more impact in steering their actions. Set over the course of nearly two decades, the story follows the interracial relationship of French 75 members Perfidia Beverly Hills (Tayana Taylor) and Pat “Rocketman” Calhoun (Leonardo DiCaprio) as they carry out various missions reminiscent of 1960s radicals. The duo is in love (sort of), but, in the wake of one of their raids on an immigration detention camp, Perfidia meets and unexpectedly takes a shine to her opponent, Colonel Steven Lockjaw (Sean Penn), an encounter that leads to a tryst and unplanned pregnancy, all without Rocketman’s knowledge. Not long after Perfidia’s daughter is born, however, she leaves her partner to pursue her own rebel agenda, saddling Rocketman with the care of a daughter that he thinks is his. But, when Perfidia is captured by authorities, she rats out her colleagues (including Rocketman) in exchange for a spot in the witness protection program, forcing her former partner and his daughter into hiding. Skip ahead 16 years to a time when Lockjaw has an opportunity to move up in the Christmas Adventurers organization, provided he passes Caucasian purity scrutiny, a tricky proposition as the potential father of a mixed-race child. To cover his tracks on this possible “liability,” he must track down the missing child, now a teenager (Chase Infiniti), who has spent the ensuing years with her presumed dad, both of whom have assumed aliases while in hiding. And, when word of this gets back to them, they’re forced to go on the run to avoid capture (or worse). That’s easier said than done, though, given that Rocketman has developed substance abuse issues that have taken their toll on him. Fortunately, however, he’s aided by a cool, composed street smart sensei master (Benicio Del Toro) who confidently manages the affairs of the immigrant residents of a sanctuary city, having become adept at helping others stay ahead of officials. And so, despite the broader conflict going on around these characters, their priorities are almost exclusively personal as they seek to tend to their respective agendas. But can they? Thus begins a kickass thrill ride as all concerned seek to protect themselves at all costs, a story filled with great action sequences, riveting chase scenes, and mesmerizing twists and turns, with a good measure of comic relief thrown in to make it interesting. Admittedly, there are times (especially early on in the film) when the connections between the various story threads aren’t connected or made clear as well as they might have been, and Del Toro’s character and storyline feel somewhat underdeveloped. But those issues are more than compensated for by the picture’s other strengths, as well as an outstanding performance by Penn in a role in which he expertly plays against type. The film, which has a vibe somewhat reminiscent of the excellent contemporary thriller “Eddington” from earlier this year, is also surprisingly well paced for a movie with a 2:41:00 runtime, a noteworthy accomplishment, to be sure. And, like “Eddington,” this offering has drawn its share of mixed reactions from viewers and critics, probably for some of the same cultural and sociopolitical reasons as those associated with that earlier offering. However, “One Battle After Another” is truly worth the time, another fine release from a gifted filmmaker.

Movie Review: One Battle After Another One Battle After Another is a masterful dark comedy-drama that skillfully balances humour with unsettling realism. The performances are compelling, and the cinematography strikingly captures both the intimacy and tension of each scene. Beneath its moments of humour lies a powerful narrative about love, resilience, and the human cost of political conflict. The film’s ability to be both enjoyable and unnerving makes it a provocative, thought-provoking experience, one that lingers long after the credits roll. Rating: 8/10

I watched with low expectations. The marketing was so overwhelming that I anticiated a let down. It exceeded expectations and delivered an exciting experience. It is a watch once and forget it movie, but worthy of a watch.

Paul Thomas Anderson's "One Battle After Another", from Thomas Pynchon's novel, is recognizably a PTA film, yet profoundly different in ways that set it apart from everything he's done before. This is Anderson evolving, and stepping into territory he's previously only circled. For the first time, PTA is blatantly political and urgently timely. He tackles immigration and racism with direct engagement, addressing issues currently tearing through the United States. The "Christmas Adventurers Club," a white supremacist secret society, is openly satirical, bordering on actual humor. This is a radical departure from the subtle, slow-burn treatments of American corruption in "There Will Be Blood" or "The Master." Here, Anderson isn't dancing around the subject; he's naming it, mocking it, dismantling it. This satire isn't just thematic window dressing; it drives the entire plot. The moral lines are far more pronounced than in Anderson's typical work, where ambiguity reigns and characters exist in ethical gray zones. In "One Battle After Another," we know who the villains are, and Anderson wants us to know. The second clear departure is the clean, optimistic, and almost conventional ending. While PTA is known for character-driven scripts that often don't resolve, or only loosely do so, this film offers resolution. Two bad guys die, one by the hand of Willa (Chase Infiniti), signaling her continuation of her mother's revolution. It's hopeful. It's clear. It's decidedly not the PTA we knew. Yet for all these departures, the film succeeds because of its performances. Sean Penn and Leonardo DiCaprio deliver brilliant work, finding PTA's typical wounded, broken, ambiguous characters within otherwise clearly defined roles. DiCaprio especially discovers the satire and humor in the film without ever breaking character, threading a needle between comedy and tragedy that few actors could manage. "One Battle After Another" is Paul Thomas Anderson standing up, speaking out, and proving that evolution doesn't mean compromise.

I'm not one to write reviews, but I have to say I thoroughly enjoyed this film. The writing had a fresh feel to it, the acting was superb, and the twists and turns just kept going. All I could think is that this feels like a Sergio Leone production, in that it just kept going. While Leo DiCaprio was amazing as always (while slowly turning into Jack Nicholson), and newcomer Chase Infinity gave a solid performance, I would say that Sean Penn stole the show. Penn's over-the-top portrayal of a militant man dedicated to the cause while also being the proverbial unstoppable force was exemplary. All in all, it was a great ride and a good watch. While the Oscars haven't gone yet, I was surprised to see the 2026 Golden Globes winners. Teyana Taylor was very good, if the writing was a little one-dimensional for her role. She excelled at what she had to work with, though I did wonder if she'd make the expected comeback later in the film. I think Sean Penn was heavily inspired by Dustin Hoffman through his portrayal of Col Lockjaw. His character surprisingly had more depth than any of the others. I wonder if Paul Thomas Anderson intended to make him an anti-hero. PTA did surpass himself with this one, his directing and screenplay were in complete harmony to produce the evocative message of far-right militarism combined with modern day racism through a telling story. His awards were well-earned.