One Battle After Another: A Stupendous Star-Studded Spectacle

Preparing for Battle

Gather a posse and suit up, because an all-new film from an iconic director is out and ready for battle! One Battle After Another is the latest movie from acclaimed director Paul Thomas Anderson, who has been a prominent figure in the movie industry since the 1990s. Known for implementing unique stories and profound cinematography with a mix of humor and drama, many of Anderson’s films – including Boogie Nights, Magnolia, and There Will Be Blood – have ranked among the greatest movies ever made. Even his most recent film up until this point, 2021’s Licorice Pizza, was praised by critics and nominated for multiple awards.

Now, Anderson is back on the big screen in a film which leans more into the action genre and isn’t seen as a slow burn, something unique in his overall catalog. But despite this against-type approach, the movie still found great success from critics and audiences, with many even calling it the best film of the entire year. However, box office wise, the film is currently tracking to only make around $25 million on opening weekend; given the budget of at least $130 million, the chances of it turning a profit are unfortunately questionable. 

Even so, I still found myself excited to check this movie out. I’ve always been a fan of Anderson’s work – particularly There Will Be Blood and Punch-Drunk Love – for their fantastic screenplays, captivating drama, and unforgettable performances. Plus, as a fan of the action and crime genres, I was eager to see how he would tackle a film of this caliber, especially due to its tonal departure from his previous works. 

Enthusiastically, I headed to the Cinépolis Luxury Cinemas in Mansfield on Friday, Sept. 26, and booked a screening to a nearly sold-out house. As the credits rolled and the crowd dissipated, I was left with one question: did this movie beat the challenge of meeting my expectations, or did Anderson lose his first battle?

Ready or Not, Here They Come!

One Battle After Another focuses on an ex-group of revolutionaries known as the French 75, who disband after years of rebellious activities. In the case of one member, Bob Ferguson, he steps away to raise his daughter Willa, albeit with a secluded and paranoid lifestyle. However, 16 years after the French 75’s end, their arch-nemesis – Colonel Steven Lockjaw – suddenly returns and Willa is taken shortly thereafter. With limited means of contact and his daughter’s whereabouts unknown, Ferguson and other ex-rebels must step up to find Willa before Lockjaw can take them all down.

In addition to Anderson in the director’s chair, the film features a plethora of talented performers including Leonardo DiCaprio, Sean Penn, Benicio Del Toro, Regina Hall, Chase Infiniti, and Teyana Taylor among others.

I was completely mindblown by how much I loved this movie. I went expecting something great, but ended up with one of the best crime thrillers in recent memory. A big attribution to this comes from the overall structure: it puts the conflict at the forefront, but it still takes the time to develop its screenplay effectively.

This approach leads to a highly engaging story which grabbed my attention from the first and did not let go for the rest of the runtime. The film takes a relatively simple concept and elevates it into something grander in scale and conflict development. It establishes high stakes right off the bat and keeps them consistent until the credits roll, while still ensuring the characters and their motivations are fleshed-out and developed. Resultantly, it finds the right balance in its tone between intense and dramatic, leading to a highly captivating movie which kept my eyes glued to the screen the entire time. 

Every moment in this film feels justified rather than padded, which I was surprised by considering the runtime. Clocking in at 162 minutes – 2 hours, 42 minutes – I was partly expecting this movie to feel slow during the more character-driven scenes, or that there would be sequences which did nothing but pad the length. But surprisingly, the story moves at a steady pace with very little filler, resulting in the runtime flying by like it were just an hour and a half long, not nearly three hours. This also ties back to the high energy the film boasts, particularly in its characters and stakes, which keeps it enthralling and never drawn out. 

As for the main story itself, it’s actually unpredictable despite its simple nature. Like previously mentioned, this film takes a simple concept and evolves it into something greater, particularly in how it develops its conflict and characters. But the main plot beats the movie hits are all engaging, and the ensemble never feels too crowded. Even if something seems familiar, the feature finds unique ways to keep viewers guessing as to what could happen next. 

Every character and side story in this film is well-written, each given an appropriate time to shine without throwing off the steady pacing. Added in with effective plot twists and an unforgettable third act, it all meshes together into one of the most creatively enthralling screenplays I’ve seen in any movie this year.

Revolutionary Rebels

This film features an all-star cast, all of whom do fantastically in not just performing their roles, but also ensuring their onscreen personas feel genuine. Every player in this movie gets a proper chance to shine, interacting fantastically with their surroundings and fellow characters while providing wide emotional ranges. Everyone in this movie feels believable in their dialogue and overall portrayal, which can be attributed to the star-studded roster of incredible performers. 

The highlight performance comes from DiCaprio, who headlines the movie’s cast and is front-and-center on the poster. He approaches Ferguson in an interesting fashion, as he goes through a rigorous and eventful arc throughout the runtime, paving the way for a fantastic showcase of traits including anxiety, perseverance, and paranoia. 

Along with these emotions, DiCaprio has a boisterous and eager personality, which results in some of the best line deliveries in the entire film – especially in his interactions with Willa and Del Toro’s character, Sergio St. Carlos. DiCaprio’s dialogue is not only expert in exploring his emotional vulnerabilities and skepticisms, but can even show strong comedic talent, as his timing and overall delivery resulted in some refreshing humor amid all the intense conflicts. 

But no good protagonist is without their antagonist, who can be highlighted in this movie via Penn’s role as Lockjaw. Throughout the film, Penn establishes himself as a threatening powerhouse who grows more and more ruthless as the story progresses, particularly following a certain reveal towards the third act. He commits to the bit and submits a performance which can range from unnerving to outright frightening, while the screenplay greatly delves into his motivations as the film reaches its climax. Combined with his straightforward, no-nonsense approach, Penn’s gritty and domineering portrayal of Lockjaw helps him to stand out as one of the year’s most impeccable villains.

Yet, despite all the fantastic talent from the big name actors, there was once performance which completely shocked me in how mesmerizing it was: Infiniti as Ferguson’s daughter, Willa. I was gobsmacked to discover that this was her first acting role in a major motion picture, especially since she portrays her character in such a phenomenal fashion. 

Like her in-movie father, Infiniti utilizes a plethora of emotions in her role – including sarcasm, skepticism, and confusion – to make her character feel real as she is dragged into a tense situation against her will and begins questioning her past. She also gets plenty of chances to amplify her emotional skills, primarily in one standout scene towards the end of the climax. Her believable concern and captivating arc make for a highlight character in the film, and the best feature debut I’ve seen since Miles Caton in Sinners. 

A Visually Satisfying Skirmish

In addition to the story and characters being executed perfectly, the film also includes many stunning technical elements which keep it pleasing to the eyes and ears. This can especially be highlighted in the cinematography, a standout in previous Anderson films which also reigns strong here. Helmed by Michael Bauman, the movie greatly utilizes both deserted and crowded areas, and provides a great sense of spectacle in the locations it explores and their subsequent lighting schemes. Whether it be sun-heavy roads of a nearby desert or dark and crowded compounds and cities, the film makes use of these locations in a highly appealing way, ensuring visual variety and strong scope throughout the entire runtime.

There are treats for the ears as well in the form Jonny Greenwood’s musical score, which stands out from other recent compositions in its instrumental variety. Rather than utilizing a grand chorus for each track, Greenwood opts for more simplified pieces which put an emphasis on one particular instrument, such as a piano or percussion. This approach to the score led to increased intensity throughout the film, particularly in more climactic scenes, as it puts a heavy emphasis on fast tempos and crescendoed sounds to captivate viewers. On top of that, no two tracks blend in with each other, as each one has its own unique style and sound, adding even more variety to the film and keeping it consistently captivating.

But the technical aspects undoubtedly shine the most during the film’s action sequences. There are not many of them in this movie, but at certain parts of the story, a firefight or car chase will break out as the onscreen havoc reaches its peak. Under Anderson’s direction, these sequences left my heart racing, thanks in part to their editing style, which combines point-of-view tracking shots with quick cuts to put audiences in the driver’s seat and not let them go until the movie hits the brakes. 

These sequences also highlight the film’s outstanding sound design, with the car chases especially shining as engines are loudly revved and rubber is burned against pavement. Mixed with the varying musical tracks and stunning camera work, these sequences left my jaw on the ground as the technical aspects shined onscreen and blasted through the speakers.

Viva La Revolution!

Overall, though the runtime may appear intimidating, One Battle After Another is a brilliant example of how to do a crime thriller through its creative screenplay, fantastic performances, unforgettable characters, jaw-dropping action, gorgeous cinematography, and intense musical score. It has practically everything going for it, resulting in one of the year’s greatest achievements in filmmaking, and one of the best of Anderson’s career. 

If you’re a fan of crime stories, Anderson’s previous films, or want a unique spin on an action thriller, this is the perfect film for you. One Battle After Another is currently playing in theaters nationwide, including Mansfield’s own Cinépolis Luxury Cinemas – a less than 10-minute drive from campus! If you want to see something fantastic from one of Hollywood’s best working directors, Anderson has you covered with his latest outing. 

I may have expected something great going into this movie, but all of its outstanding elements created something truly special, ultimately winning the battle of exceeding my expectations.

My Rating