Released in U.S. theaters on Friday, Sept. 26, “One Battle After Another,” directed by Paul Thomas Anderson, chronicles the journeys of father-daughter duo Bob (Leonardo DiCaprio) and Willa Ferguson (Chase Infiniti). Anderson based “One Battle After Another” on American author Thomas Pynchon’s 1990 postmodern novel “Vineland.” Colonel Steven J. Lockjaw (Sean Penn) realizes the dangers behind Willa’s existence and her effect on his participation in the Christmas Adventurers, a white supremacist group. Bob, a stoner, and defiant teenager Willa are forced to reconcile with their complicated pasts, and her mother Perfidia Beverly Hills’ participation in a revolutionary group known as the French 75.
While “One Battle After Another” boasts nearly three hours of continuous run-time, Anderson’s smooth command of the movie’s well-paced plot keeps viewers on their feet without ever dragging it out or overdoing it. Anderson is able to keep the plot moving with the right balance of action, humor and wit, such as in the scene when Sergio St. Carlos’ (Benicio del Toro) plan to help Bob escape Lockjaw unfolds. Despite the filmbuilding to a final looming standoff between the Fergusons and an eager Lockjaw, Anderson doesn’t hesitate to keep other parts of “One Battle After Another” equally as engaging and excellent, keeping fans seated throughout a rollercoaster of a film.
While the filmmaking and scriptwriting of “One Battle After Another” are key standouts, the star-studded cast also helps boost the movie. DiCaprio showcases his acting expertise and perfectly melts into the complex role of a broken dad and retired revolutionary. Penn’s ability to command the screen with just his glare and gruff voice make the looming threat that his character, Lockjaw, poses feel scarily real. Notably, Infiniti blends in seamlessly alongside veteran actors and properly showcases the complexities of Willa’s character. It’s hard to believe that “One Battle After Another” is her first movie role.
The film also proves a cinematic and visual masterpiece, featuring costumes that fit the characters’ molds, uniquely shot battle scenes and plentiful nuance. Stoner and couch maniac Bob’s outfit of a robe, sweatpants and strange sunglasses fit perfectly with his classic dad-like personality, while Willa’s teenage defiance is manifested in the juxtaposition of her feminine tulle skirt and the rebellion of a black leather jacket. The final desert battle scene between Willa, Bob and Tim is particularly well shot, with cinematographer Michael Bauman using each car’s rearview mirror to showcase each character’s position, adding a sense of urgency to the film.
Furthermore, “One Battle After Another”’s humor is unmatched. While the film predominantly encompasses tough topics like familial loss and imminent danger Anderson’s inclusion of borderline out-of-pocket remarks are welcome additions. When smoking addict Bob is suddenly plunged back into his life of crime and simply cannot remember “what time it is” — a secret code in the French 75 to unlock the coordinates of a safe rendezvous point — he says to representative Comrade Josh, “That’s what you are: a little nitpicking prick. And do you know what I’m gonna do to nitpicking pricks? I’m gonna call in a Greyhawk 10.” When an angry Willa struggles to come to terms with the precarious situation she’s been placed in, she describes it as the “cards” that were dealt out for her, and father Bob just has to correct her with the word “dice.”
However, “One Battle After Another” isn’t afraid to get sentimental, which makes the movie so special. After Willa eliminates Christmas Adventurer recruiter Tim Smith (John Hoogenakker), she and Bob share a loving father-daughter embrace, which reminds viewers of the core mission of the movie — the cost of family and of revolution.
Despite this, “One Battle After Another” has many loose ends, mainly in the form of plot holes and a lack of a substantial climax. The film fails to address how Christmas Adventurers recruiter Tim Smith seems to almost resurrect from the dead without any visible injury after the desert standoff between him, Willa and Bob, while Lockjaw returns to his ambitions to join the white supremacist group with visible, gnarlier injuries. Furthermore, while “One Battle After Another” features prominent political messaging — Perfidia says that the “revolution will be televised,” and much of the film surrounds immigrant deportations and resistance to such — this message doesn’t seem to come to any conclusion.
Despite its drawbacks, “One Battle After Another” is one of 2025’s biggest film masterpieces. Films that bridge the gap between cinema recliners and the action within a scene are hard to find, but “One Battle After Another” proves itself as that. From its hilarious jokes to the moments that keep you on the edge of your seat, “One Battle After Another” is a perfected concoction of quality acting, beautiful presentation and stimulating plot.
