Film Review: ‘One Battle After Another’ is a Thrilling Adventure That Finds Paul Thomas Anderson at His Biggest and Most Entertaining

If there was ever a doubt that Paul Thomas Anderson is a master filmmaker, let One Battle After Another settle that for good. This movie is a full cinematic meal, with PTA at the height of his powers. Not only is he crafting his first blockbuster sized project, he’s doing it in a way that mixes screwball comedy with timely political commentary. In lesser hands, this film could have seemed like a tonal mishmash, fusing together a thriller and a chase flick with stoner comedy moments. Instead, each element raises up the other. Anderson has crafted one of the very best pictures of the year, one that immediately enters into the conversation of his best work to date.

One Battle After Another finds PTA at his largest scale yet, though somehow also at his most entertaining as well. Despite massive stakes, a body count, and a deep rooted anger within it, you’re also constantly laughing and smiling. There are moments that are as funny as anything he’s ever done, while others are as heavy as anything he’s ever done. It’s only the rare master craftsman who can make it all seem this effortless.

Bob (Leonardo DiCaprio) is a member of the revolutionary group the French 75, a radical organization fighting back against the oppressive government of current administration. Led by his lover Perfidia Beverly Hills (Teyana Taylor), the group is preparing to liberate a migrant detention center on the California/Mexico border. Bob is their explosives effort, while Perfidia is their spiritual and literal leader. During this raid, she also comes across Col. Steven J. Lockjaw (Sean Penn) and can’t resist the opportunity to mess with the unrepentant racist a little. Her bit of sexual humiliation works, though also captures Lockjaw’s attention in a way that will propel the movie forward. Soon, Bob and Perfidia have a baby daughter, though a different choice eventually leads to the group going into hiding.

Sixteen years later, Bob is now a washed-up revolutionary living in a constantly stoned state of paranoia. He lives off the grid, raising Willa (Chase Infiniti), who has grown up to be a strong spirit, mostly self-reliant, given Bob’s current limitations, as well as Perfidia no longer being in the picture. When Bob is alerted by his former compatriots that Lockjaw is in town, he panics. When Willa goes missing, Bob springs into action, scrambling to find her. While he looks for Willa, so too is Lockjaw, with an agenda that only becomes clear later on. Bob’s quest will put him in contact with allies both new (Benicio del Toro) and old (Regina Hall), as well as new enemies, ones who have more power than anyone even realizes. To say more about what’s going on in the second half of the film would spoil things, but PTA continues to raises the stakes and the tension level, even while keeping you laughing.

Leonardo DiCaprio is an underrated comic actor, as seen in The Wolf of Wall Street. Here, he gets to play perpetually stoned and continually finds ways to make it hilarious. Whether it’s physical comedy or his tendency to forget the group’s code words, you’re laughing at Bob throughout. DiCaprio is a reliably great presence in the center of the film, though the women in his life really shine brightest. Teyana Taylor is a force of nature, owning the first act of the movie, while Chase Infiniti is the really the star of the final act, announcing herself in a very exciting manner. Taylor gets to literally fuel a revolution, while Infiniti gives one of the more noteworthy breakthrough turns of the year. Then, there’s Sean Penn, who hasn’t been this good in some time, playing Lockjaw as funny, pitiful, and scary in equal measure. You hate the vile man, to be sure, but you’re constantly compelled by him, given the way Penn plays him. Regina Hall has a solid and somber part as one of the former revolutionaries, while Benicio del Toro is having a lot of fun as Willa’s martial arts instructor. His scenes assisting Bob are very enjoyable, while also building to some actual action set-pieces. The large supporting cast also includes Tony Goldwyn, Alana Haim, Wood Harris, Shayna McHayle, D. W. Moffett, the voice of Jena Malone, and more.

Paul Thomas Anderson is flexing a new directorial muscle here, giving us action scenes, a blockbuster scale (done on a blockbuster budget), and even making some moves towards the mainstream. One Battle After Another is almost certainly his most accessible film, yet at the same time, it’s also easily his most political. The fascist government the revolutionaries are fighting against are unnamed white supremacists, though you don’t have to squint too hard to see who Anderson is raging at. The loose adaptation of Thomas Pynchon‘s Vineland never feels preachy, instead consistently seeking to entertain. The real world timeliness of the message just gives it all weight. PTA’s writing and direction is once again impeccable here, aided by another mesmerizing Jonny Greenwood score, as well as stunning cinematography (see it in VistaVision if you can!) from Michael Bauman.

This is most definitely going to be a major Academy Award contender, potentially even leading the Oscar nominations. Best Picture, Best Director (for Anderson), and Best Adapted Screenplay (also for Anderson) seem like locks, while Leonardo DiCaprio in Best Actor, Sean Penn in Best Supporting Actor, plus Chase Infiniti and Teyana Taylor (Best Actress/Best Supporting Actress, depending on how they’re categorized) are certainly players. Below the line, One Battle After Another should have across the board love. Moreover, it’s probable that the industry will be eager to support the movie, as well as the message that Warner Bros. committing this kind of a budget to PTA is sure to send out. So, bet against this one at your own risk.

One Battle After Another is one of 2025’s crowning achievements. It will be loved by the Oscars in due time, though immediate acclaim will eventually give way to long standing appreciation, as this deserves to be mentioned in the upper echelon’s of Anderson’s filmography. He’s made a few masterpieces already, with this one joining those ranks. I loved this movie and am overjoyed that it even exists, let alone is this spectacular.

SCORE: ★★★★