Writer’s note: The second paragraph of this article (just below the first image) contains a basic outline of the film’s premise. There are no spoilers that weren’t already inferred in the film’s own trailer. However, if you want to completely avoid potential spoilers, skip over the second paragraph.
For the first 11 years of his career, Director Paul Thomas Anderson successfully redefined arthouse filmmaking. His films were well respected with the festival crowd, and were also popular with mainstream viewers. Usually, unconventional storytelling doesn’t grab the attention of regular moviegoers. However, from Boogie Nights (1997) to There Will Be Blood (2007), Anderson’s bizarre brand of artistry produced countless water-cooler moments which had people talking. Since then, Anderson hasn’t enjoyed that same level of success, with many of his films failing to cross over into mainstream popularity. To be clear, things such as The Master (2012) and Phantom Thread (2017) were highly praised, but they weren’t big hits, or instant classics like his earlier films. As such, Paul Thomas Anderson is in desperate need of a hit. If he’s to continue making his beloved passion projects, he needs something to put him back on top. With his latest offering, One Battle After Another (2025), he may have just achieved that goal.
We are introduced to lovers Pat Calhoun (Leonardo DiCaprio) and Perfidia Beverly Hills (Teyana Taylor), members of a far-left militant group called The French 75. They engage in many revolutionary actions, from blowing up power lines, to attacking government buildings. During their liberation of an immigration detention centre, Perfidia comes into contact with Commander Steven Lockjaw (Sean Penn). Lockjaw develops a lustful fascination with Perfidia, and secretly blackmails her into having a sexual relationship with him. After a short time, Perfidia gives birth to Pat’s child, a baby girl named Charlene (Chase Infiniti), but Perfidia can’t bring herself to settle down. 16 years later, Pat has raised Charlene on his own, living off the grid and changed their names to Bob and Willa Ferguson. Now a Colonel, Lockjaw is about to receive membership into white supremacist organisation. However, he is questioned about his previous relationship with Perfidia, an African-American woman. Under the guise of an immigration and drug control operation, Lockjaw seeks out Bob and Willa, intending to ‘remove’ any potential evidence of him having been with Perfidia. With Willa on the run, Bob embarks on a mission to rescue her before Lockjaw finds her, but it has been a long time since Bob was a revolutionary, and thus is out of his depth.
The first thing to note is that this is a far more action-packed film than Anderson has ever previously attempted. Across its 162 minute runtime, there is no shortage of shootouts, chases and double-crosses, making for a highly energetic ride. Unlike every other action spectacle, One Battle After Another keeps its thrills at a believable level, resulting in set pieces which would be right at home on your local news channel. This makes the action particularly tense, as there are countless moments where you may actually feel yourself perspire. The dramatic tension is expertly built up from the first frame, starting off slowly, but eventually building to a jaw-dropping climax. Not a single minute of its nearly three hours is wasted, as One Battle After Another keeps you on the edge of your seat like nothing has for a long time.
Anderson perfectly mixes the film’s thrills with frequent touches of dark comedy, resulting in some of the funniest scenarios you’ll see at the cinema this year. The Director has always had a penchant for cynical humour, but One Battle After Another pushes the boundaries of how much comedy you can muster from an otherwise serious thriller. Anderson’s balance of drama and humour is perfectly matched by his stellar cast, with Leonardo DiCaprio delivering one of the best performances of his career. Watching Bob scurry around (in essentially his pyjamas) trying to recapture the revolutionary skills he had as a younger man is both nail-biting and hilarious. Not only that, but DiCaprio flawlessly captures a father’s desperation, stopping at nothing to bring his daughter home safe. On the more villainous side, Sean Penn is outstanding as Lockjaw, creating one of the most despicable antagonists to grace our screens in years. Of course, we expect legendary actors to give legendary performances, but its newcomer Chase Infiniti who steals the show as Willa. This is one of the strongest feature film debuts in decades, meaning Infiniti will surely build an iconic career following her appearance here.
While all of the above certainly makes One Battle After Another a high quality offering from Anderson, what is it that makes it more than just another well produced film? After all, even Anderson’s lesser work can claim all of these merits. One Battle After Another delivers something that has been missing from Anderson’s filmography, as well as many recent prestigious films. Simply, One Battle After Another is engrossing in a manner we haven’t seen in almost 20 years. Sure, as a thriller, it’s nail-biting and as a comedy, it’s side-splitting, but it’s the little details which make it more than the sum of its parts. Anderson populates every scene with highly complex thematic nuance which is both subtle, yet incredibly clear. Anderson doesn’t ever stop to explain the plot, the meaning, or the characters motivations, yet the viewers will never be confused about the plot, meaning or motivations. Films like this often feel emotionally cold, as they keep the audience at arms length. However, Anderson pulls off the impossible with One Battle After Another, fulfilling the story’s artistic needs, while at the same time connecting with viewers both emotionally and intellectually. One Battle After Another isn’t restrained to allow casual moviegoers to keep up, instead it will turn those casual moviegoers into film enthusiasts.
With that in mind, Anderson has delivered a film which feels both relevant and timeless. One Battle After Another’s world is recognisably our own, with all the current social, cultural and political tension filling the margins. Even if you’re not fully caught up on current issues, One Battle After Another‘s otherwise fictional adventure feels all too real. In years to come, Anderson’s work here will be examined for what it says about the social values of 2025. While it definitely has its finger on the pulse, does this mean that One Battle After Another‘s thematic power will mean less as time goes on? For example, a film like In the Heat of the Night (1967) was highly provocative in its day (and is still excellent to be sure), but its power seems somewhat diminished through a modern lens. Does this mean that One Battle After Another will seem less relevant in decades to come? If so, how can it be timeless?
One Battle After Another will become timeless because the story ultimately rises above the social tensions, political views, and cultural upheaval it depicts. Despite the heroes and villains all being products of modern day issues, the film deliberately refrains from making all those heavy ideas central to the film’s final message. One Battle After Another stays true to a far more human central theme, never losing sight of the fact that it’s about a father’s love for his daughter. All those political, social and cultural problems are just noise, getting in the way of what truly matters. By the time the credits roll, One Battle After Another perfectly achieves what Anderson has always strived to achieve: a world where we can see the best in people, despite any meaningless imperfections they may have. For all his cynicism, Anderson has always had a soft heart, and One Battle After Another shows that better than anything else in his career.
Against all odds, Paul Thomas Anderson has delivered an astonishing masterpiece. While it may be too early to say if it’ll overtake There Will Be Blood as his best film overall, One Battle After Another is still his greatest artistic achievement in 18 years, as well as the most accessible film of his entire career.
9.5/10
Best way to watch it: Before listening to some Steely Dan.
