Paul Thomas Anderson’s latest film, One Battle After Another, has sparked significant buzz, with some critics hailing it as a cinematic triumph. Described as the best movie in years—or even the best in a decade—expectations were sky-high. However, after watching the film, it becomes clear that while it excels in style and technical craft, its narrative and ideological underpinnings are deeply flawed, leaving a mixed viewing experience.
Direction, Cinematography, and Score
As anticipated from Anderson, the direction is precise and visually compelling. The film moves quickly from one set piece to another, each scene beautifully framed and meticulously choreographed. Anderson’s trademark attention to visual detail ensures that even the film’s quieter moments feel polished and purposeful.
Johnny Greenwood, who previously composed for There Will Be Blood, delivers a score that is minimalist yet effective. The music enhances the tension and drama without ever overwhelming the narrative. The highlight of the technical work is a well-executed car chase near the film’s climax, which showcases Anderson’s ability to balance spectacle with narrative pacing. Even though the movie struggles in other areas, its audiovisual elements remain a highlight.
Plot Overview
The movie is loosely adapted from Thomas Pynchon’s novel Vineland, though the connection is more thematic than literal. The story centers on revolutionary figures Ghetto Pat Calhoun (Leonardo DiCaprio) and Perfidia Beverly Hills (Tiana Taylor), leaders of a radical activist group called the French 75. Their objective is to challenge what the film portrays as a society dominated by white Christian nationalists.
The film opens with a raid on an ICE facility, establishing the pair’s commitment to radical action. Perfidia is depicted as a fiercely independent and sexually liberated revolutionary, while DiCaprio’s character assists in her explosive missions. Their unconventional methods—violent, theatrical, and politically charged—set the tone for the film’s provocative approach to activism.
Perfidia’s interactions with the villain, Colonel Steven Lock Jaw (Sean Penn), are deliberately provocative and highly unusual. The colonel, a white nationalist, becomes obsessed with Perfidia, leading to an ethically complex and sometimes bewildering sexual dynamic. This subplot is emblematic of the movie’s over-the-top approach to intertwining political ideology with personal relationships.
Sixteen years later, the narrative shifts focus to DiCaprio’s character, now a disillusioned father known as Bob, who raises a teenage girl, Willa. Willa, unknowingly the daughter of Lock Jaw, becomes involved with a group of young activists inspired by her mother’s revolutionary legacy. Bob struggles to navigate his daughter’s increasingly radical worldview while trying to protect her from the threats posed by her biological father.
Characters and Performances
The performances are largely competent. Leonardo DiCaprio portrays Bob as a reluctant, morally conflicted figure trying to reconcile his past with his present. Tiana Taylor as Perfidia embodies the zealous revolutionary, bringing energy and intensity to the role. Benicio Del Toro stands out as Sergio St. Carlos, a karate instructor and community leader who assists Bob in protecting Willa while supporting an underground network for illegal immigrants. Del Toro’s charm provides moments of levity amid the film’s heavy political messaging.
Sean Penn’s portrayal of Colonel Lock Jaw, however, is less convincing. His character is a caricature of extremist ideology, combining obsession, cruelty, and absurdity. This over-the-top depiction makes it difficult to take the stakes seriously and highlights one of the film’s core problems: its lack of subtlety.
The writing struggles with character development. Motivations are exaggerated, dialogue is often clunky, and ideological stances are presented in black-and-white terms. Characters rarely exhibit nuance, leaving viewers with archetypes rather than fully realized people. This is particularly evident with Lock Jaw and the French 75 group, whose actions and motivations can feel cartoonishly extreme.
Ideological Overload
The most controversial aspect of the film is its ideological stance. One Battle After Another presents a world in which white Christian nationalists control society, and people of color, along with a few sympathetic allies, must take radical measures to fight this system. The film’s messaging implicitly endorses extreme activism, including violence and civil disobedience, as morally justified in pursuit of social justice.
The film’s ending reinforces this radical perspective. Willa, inspired by her mother’s legacy, embraces the revolutionary path rather than seeking a balanced or constructive approach to activism. While some critics have tried to frame this as hopeful, it arguably glorifies extreme ideology without examining its consequences.
This ideological focus, combined with exaggerated characterizations, contributes to a sense of narrative imbalance. The film’s social and political commentary lacks subtlety, and its attempts at moral complexity often feel performative rather than thoughtful.
Strengths and Weaknesses
The film’s main strengths lie in its technical execution:
Direction: Anderson’s pacing and visual storytelling are strong.
Cinematography: Each frame is meticulously crafted, with memorable set pieces.
Score: Greenwood’s music enhances tension and atmosphere effectively.
Performances: DiCaprio, Taylor, and Del Toro provide engaging portrayals.
Its weaknesses, however, undermine the overall impact:
Writing: Dialogue is clunky, and character motivations are often implausible.
Ideology: Heavy-handed political messaging overshadows narrative subtlety.
Plot: The storyline is convoluted, with leaps in logic and unexplained developments.
Character Depth: Villains and heroes alike are largely archetypal rather than nuanced.
Final Verdict
One Battle After Another is ambitious in its scope and daring in its political commentary, but its execution leaves much to be desired. The film offers visually stunning sequences and strong performances, yet the narrative is burdened by ideological extremism and inconsistent writing. For viewers seeking stylistic filmmaking and provocative social commentary, the film may be engaging. However, those looking for subtle storytelling or nuanced characters will likely be disappointed.
Ultimately, the film is a mixed bag. It demonstrates Paul Thomas Anderson’s continued mastery of cinematic technique but struggles under the weight of its own political ambitions. While it may attract awards attention due to its high-profile cast and director, the film’s ideological heavy-handedness prevents it from achieving the depth and resonance of Anderson’s previous works, such as There Will Be Blood or The Master.
| Verdict score table. X/10 | |
|---|---|
| Plot/Storyline/Script | 8 |
| Acting/Performances | 8 |
| Direction | 7.5 |
| Cinematography/Visuals | 8 |
| Editing/Pacing | 8.5 |
| Sound/Music (Score & Soundtrack) | 9 |
| Theme/Message/Depth | 9 |
| Entertainment Value/Emotional Impact | 8 |
One Battle After Another is a technically impressive but narratively and ideologically flawed experience—a film that dazzles the senses but leaves the intellect wanting
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