One Battle After Another

Summary

“I’m calling in a Greyhawk 10, Comrade Josh.”

A little over a decade ago, Paul Thomas Anderson directed Inherent Vice, which was an expertly crafted adaptation of Thomas Pynchon’s 2009 novel. From what I can tell from the circles in which I discuss films, Inherent Vice proved to be one of the most divisive pictures from the universally lauded filmmaker. It was a critical success but audiences failed to show up at the box office, with the picture earning $14 million against a $20 million budget. I personally loved the film and was impressed by how Anderson was able to adapt the incredibly dense storyline from Pynchon’s novel. It is a film I have returned to every few years and always find even more impressive than on the first viewing. In 2025, Paul Thomas Anderson received some of the best reviews of his career for his film One Battle After Another, which was loosely based on Pynchon’s 1990 novel Vineland. Considering that Inherent Vice divided Anderson’s fans and failed to recoup at the box office, I find it pretty impressive that Anderson was able to get a budget estimated to be as high as $175 million to craft his latest film. The film did $207 million at the box office which is the most of any Paul Thomas Anderson film, but reports indicate that marketing costs would need the film to do upwards of $300 million for Warner to recoup their investment. This film is a strong case that Anderson is fearless in his pursuit towards creating the art that he wants to see. One Battle After Another transposes Pynchon’s Reagan-Era set action into the post 9-11 and current political era. While the film definitely reflects some of the more hectic aspects of the political climate of our time, I think that film lovers from either side of the aisle should find a lot to enjoy. For my money, One Battle After Another was the most interesting film of 2025, and ranks as one of my favorite films I have seen in the last year.

I will try my best to not spoil some of the more interesting elements of this film by trying to be somewhat vague in this quick summary:

The first hour of the film follows the exploits of a far-left revolutionary group called the French 75. Pat Calhoun (Leonardo DiCaprio) and Perfidia Beverly Hills (Teyana Taylor) are romantically involved. While liberating detained immigrants from the Otay Mesa Detention Center, Perfidia comes across commanding officer Steven J. Lockjaw (Sean Penn.) They have an unusual sexual encounter before she leaves the center with her colleagues. Lockjaw becomes obsessed with Perfidia, and seeks her out. When Perfidia is caught planting a bomb by Lockjaw, he allows her to go if she will meet him later for sex in a motel room. Perfidia gives birth to a daughter that Pat and her name Charlene. Pat tries to convince Perfidia to slow down and help him parent their child, but she has no interest in that life. She continues her revolutionary activities, and an event occurs which leads to her arrest. Lockjaw offers Perfidia immunity and witness protection if she will turn on her colleagues. Lockjaw begins to track down and kill Perfidia’s former colleagues. Pat and Charlene are given new identities as Bob and Willa Ferguson, and they head to Baktan Cross, California to live off-the-grid. Sixteen years later, Colonel Lockjaw is offered membership in an exclusive club of powerfully connected white supremacists. Seeking to track down Willa (Chase Infiniti,) Lockjaw uses his military connections to enter any place housing French 75 members. Bob seeks to protect his daughter, but another connection from the past, Deandre (Regina Hall,) grabs Willa to protect her while Willa is at a school dance. Bob has been out of practice as a revolutionary for a long time and has abused alcohol and drugs during those years. He turns to Willa’s karate sensei Sergio St. Carlos (Benicio Del Toro,) who is also a leader amongst the immigrants in his community, to help him get his daughter back.

One Battle After Another is a phenomenal film. The script is jampacked with ideas – ideas about sanctuary cities, militarized immigration enforcement, racism, extremism on both sides – but it also capably adapts a Pynchon novel while only borrowing some plot points while abandoning many others. This film is actually much better than Pynchon’s novel Vineland (which I read in preparation for viewing the film) in my opinion. Anderson is a gifted storyteller and he cleverly streamlined the best parts of Pynchon’s labyrinthine novel while adding in everything else that makes the film feel vital and alive. It is a film that meets the political moment head on without feeling like some form of soap box lecture. It is an action film with incredible set pieces and a thrilling finale, that is also dramatic and at times very funny. It is a beautifully shot story about a father’s love for his daughter. It is in some ways a stoner comedy with a cast of quirky and unforgettable characters. Basically, what I am trying to say is that the film is a triumph.

Leonardo DiCaprio once again demonstrates why he is one of the greatest actors of his generation. DiCaprio is a really physical actor and an underrated comedic actor. He capably takes on the role of the stoned former revolutionary with charm that will remind viewers of Jeff Bridges in The Big Lebowski. He plays Bob with a well balanced mixture of quiet desperation, nervous frustration, and earnest conviction. In any given year, this would be a performance that would be deserving of all the accolades, but in this year, Sean Penn gives a performance that is every bit his equal. Sean Penn is physically intimidating and full of menace, but there is more to the character than others may have played it. It would be easy to think that a character with the name of Lockjaw would simply be a caricature, and his character definitely represents some of the more frightening aspects of the militarization of our national law enforcement, but Penn gives the role additional depth. It is one of his best performances, which means a lot considering Penn has been wowing audiences for nearly fifty years. Teyana Taylor is nominated for Best Supporting Actress for her role in the picture, and I hope she wins the award. I am not alone in saying that the singer and actress completely commands the screen for the first hour of the picture. She is totally mesmerizing. It is a great showcase for her talent. In only her second supporting role, Chase Infiniti is a revelation as Willa. She brings a generational optimism to the role and holds her own while onscreen with a tremendous ensemble. Benicio Del Toro is likewise great in a smaller but key role in the picture. Many people have been quoting his “little beers” line, and it is understandable. He is perfectly cast and effortlessly cool in the film. His little affectations show an actor that consistently makes great choices onscreen. Regina Hall is similarly well cast as Deandre, although her character almost by design leaves less of an impression than the other main characters. Other notable supporting cast members include Alana Haim, Tony Goldwyn, James Downey, John Hoogenakker, and Kevin Tighe. Everyone onscreen is directed with the same swagger and confidence that Paul Thomas Anderson has shown in a career of great directorial efforts.

Working with cinematographer Michael Bauman whom had previously worked with him on Licorice Pizza, Anderson shot the film as a modern day epic. Shot on Super 35 and VistaVision with a variety of Panavision lenses, the film completely fills up the frame with detail. It is unusual to get to see a picture that has art house credentials that is also a bonified action film, but One Battle After Another expertly threads that needle. The car chase sequence stands out, but so does the sequence where Bob jumps from rooftop to rooftop with other revolutionaries, or the sequence where the revolutionaries infiltrate a camp. The set pieces are exceptionally well staged. The music by Radiohead’s Jonny Greenwood elevates the picture with its clever percussive motifs, and I also enjoyed hearing Steely Dan’s “Dirty Work” pop up in one scene.

Overall – One Battle After Another is likely my favorite film of the year (I also really enjoyed F1 and Sinners, for reference.) I know that I will continue to revisit this film and find even more to enjoy about it. This is truly exciting and ambitious cinema, and I commend Warner Bros. for taking a leap of faith to finance this film. Check it out!

Video

Warner Bros. presents One Battle After Another on 4K UHD with both HDR and Dolby Vision. Shooting the film on Super 35 and VistaVision, Warner were committed to bringing Paul Thomas Anderson’s widescreen vision to life. Cinematographer Michael Bauman lit and framed the picture with exceptional skill, and the result is an action epic that is thrilling and politically engaging. The fine detail is remarkable from the 70mm source and it shines on the 4K format. The HDR and Dolby Vision bring the finest out of the 4K elements. The film looks beautiful. This easily earns a perfect score.

Audio

Like the visual aspects, One Battle After Another features a fantastic Dolby Atmos surround track. The score by Jonny Greenwood amplifies the action onscreen with its pulsing drumbeats and clanging pianos. The Atmos track uses every part of the Atmos directionality to its benefit, especially in the numerous brilliant setpieces in the picture. This track also scores a perfect score.

Supplements:

• Here is where it gets interesting…. No supplements. Apparently a steelbook release will eventually be available that features supplements. This is a missed opportunity to say the least.

Overall Scores:

Video: 5

Audio: 5

Supplements: 0

Overall – 4.75/5

One Battle After Another is filmmaking at the highest level of competence and confidence with a lot of money put behind it. Paul Thomas Anderson has been an exciting filmmaker for the duration of his career, and this is one of his finest works. Taking his favorite elements of Thomas Pynchon’s novel Vineland (and scrapping the rest,) Anderson has crafted an excellently paced action film that is crafted for our current polical climate. The picture has strong satirical elements but also well developed and endearing thoughts on the bonds between fathers and daughters. The film is an absolute masterpiece with wonderful performances by Leonardo DiCaprio, Sean Penn, Teyana Taylor, Chase Infiniti, Benicio Del Toro and more. Expertly shot on VistaVision and Super 35, the picture is epic in scope and looks incredible on 4K. It irks me that I can not give this release a perfect 5/5 score. The film is arguably the best picture of the last year, and the video and audio specs of this release are exceptional. Unfortunately, Warner has not provided any special features for this release because they plan to do a steelbook that will include those features. For completists, that makes this purchase a more difficult proposition. If you are not worried about the forthcoming special features, definitely pick up this release. Otherwise, it might be advisable to wait. Regardless, the film comes highly recommended!