I must confess that I have a big blind spot in Paul Thomas Anderson’s work, as I’ve only watched three of his ten feature films: Punch-Drunk Love, Phantom Thread, and this one. Each of these films belongs to a different genre, but they all share a common theme of exploring flawed, broken characters, with dysfunction being a key element in their storytelling.
PTA, as his fans who are cinephiles like to call him, crafted this film from his own script, blending aspects from one of his favorite novels, Vineland by Thomas Pynchon, which takes place in California in 1984, the year Ronald Reagan won reelection. The outcome is a wild and exhilarating ride filled with more action than you’d typically expect from a PTA film. The opening 35 minutes follow the exploits of a far-left revolutionary group called the French 75, where “Ghetto” Pat Calhoun (Leonardo DiCaprio) and Perfidia Beverly Hills (a fierce Teyana Taylor) are gearing up for their next operation of rescuing migrants from detention centers and bombing government buildings.
Perfidia becomes the focus of two men’s sexual obsession, Pat and the vile Col. Steven J. Lockjaw (Sean Penn). Her salacious encounter with Lockjaw is quite hilarious, with Penn convincingly portraying one of the most memorable villains of the year. Although Perfidia has a baby named Charlene, she refuses to slow down, leaving Pat to take care of her at home. After a failed bank robbery that sends the members of French 75 fleeing, the story jumps ahead 16 years, where Pat and Charlene are living off-grid in a Sanctuary city called Baktan Cross, going by the names Bob and Willa (Chase Infiniti).
I didn’t know much about One Battle After Another before diving in, except that it’s his priciest film to date, with a budget estimated between $130 and $175 million. The trailer made it feel like it’s an action comedy, but it covers several genres: thriller, satire, drama, and dark comedy. It’s quite eerie how art imitates life, as some of the issues, like immigration, mirror what’s happening in our world today. The film deftly addresses the perils and unease of our time, but is astute enough to refrain from making an overt political statement. I appreciate that PTA doesn’t hit us over the head with his politics; instead, he weaves them into the characters’ personal journeys to delve into their socio-political themes.
The key characters are morally complex, often making questionable choices. This isn’t just a straightforward good vs evil tale, as the revolutionary characters have their own flaws, and their extreme methods lead to serious repercussions. Interesting how the revolutionaries’ brutal approach is contrasted with the seemingly peaceful and harmless secret society that calls itself the Christmas Adventurers Club, led by a guy with a ridiculous name, Virgil Throckmorton (Tony Goldwyn). Let’s just say that any group that uses the ‘hail’ salute, which represents dangerous ideology, clearly does not adhere to the true message of Christmas.
PTA peppers the film with numerous quirky, screwball moments. The silly antics involving Bob, who is perpetually high, are particularly entertaining, especially when he tries to contact the French 75 hotline for help. He struggles to remember the elusive password, and his expletive-laden outburst is hilarious. I enjoy it when DiCaprio showcases his comedic talent, reminiscent of his performances in The Wolf of Wall Street and Once Upon A Time in Hollywood. He’s almost always in a state of confusion or frustration here, and it’s quite amusing to watch, but there’s also tenderness as Bob is a loving father who’s overprotective of Willa.
Benicio Del Toro also brings some levity to the role of Willa’s sensei, who also serves as the protector of the city’s immigrant community. Regina Hall does fine work in her limited screen time as a French 75’s senior member, and I’m really impressed by newcomer Chase Infiniti in her feature debut. She’s got a strong screen presence and can hold her own against veteran actors. She’s got a lot of screen time in the third act, which displays Willa’s fighting spirit, just like her mother, Perfidia.
PTA makes good use of the $100+ million budget, as the film is excellent on a technical level. The cinematography and camera work by DP Michael Bauman is top-notch. PTA decided to film using the large-format VistaVision, similar to how The Brutalist was shot. I was fortunate enough to experience it on IMAX with Laser, which provided a wider 1.43:1 aspect ratio throughout the entire duration, just as it was intended. Those lucky enough to get to one of the VistaVision theaters in LA, NYC, Brookline, and London should definitely see it there.
One of my favorite aspects of the film is the music by Jonny Greenwood, PTA’s go-to composer, who’s also in the band Radiohead. I absolutely love his score for Phantom Thread and The Power of the Dog, and he’s done another mesmerizing work here again. His dynamic score perfectly enhances the style and tone, and while it occasionally overshadows the action and dialogue, it didn’t bother me as it did in Highest 2 Lowest. Speaking of action, the climactic desert car chase is pretty thrilling. While many Hollywood car chases take place amidst bustling city traffic, this particular one stands out as it unfolds on a dramatically steep desert highway (filmed in the Montezuma Grade region of Southern California).
Though the film runs for 2 hours and 41 minutes, it’s so well-paced that it passes relatively quickly. The narrative is meticulously crafted in such a way that it rarely loses its rhythm, which is quite a feat in itself. PTA’s direction and the outstanding performances create an immersive experience. To top it all off, it also has a satisfying and heartfelt ending that solidifies the father-daughter tale at its heart. I can see why PTA has gained quite a following and is considered one of the most celebrated American filmmakers working today. I’m hoping to catch up on his earlier works, especially Magnolia and The Master. This one sounds like it’s one of his most accessible and gleefully entertaining films. I don’t even mind seeing this again once it arrives on VOD, and undoubtedly, this one will make my Top 10 Films of the year.
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Excellent reviews as always Ruth. I am definitely excited to see this film soon. The hype at this point is insane. I am such a huge fan of Leonardo DiCaprio. My favourite actor of all-time. Ever since I first saw him in “Titanic”, I have always loved his work. He brings so much charisma, emotional gravitas and presence to his films. I have heard that this is one of his best roles. Definitely curious to see whether it will live up to my expectations. My only hope is that I won’t be let down by it.
Here’s a list of my favourite Leonardo DiCaprio films of all-time:
Hey Huilahi! Hope you get to see this soon, I think it lives up to the hype, though I wasn’t hugely anticipating it like others did. Great Leo list btw, I think Inception, Titanic and Catch Me if You Can are my top 3 of my fave roles. I was actually obsessed w/ him after seeing Titanic, I’m impressed by how he’s handled his career since then. Cheers!
I love this film. This was way better than I thought it would be but then again, I’m a fan of P.T. Anderson. I really liked how touching it is in terms of the father-daughter relationship but also in the fallacies of revolutionary ideals. It is hilarious as I think Leo is once again proving that he is at his best when he does outrageous things. I love the whole ensemble with Chase Infiniti being a major standout. The music by Jonny Greenwood and its soundtrack is incredible. I’ll have a full review in a few days.
Hey Steven, glad you got to see this on the big screen. As a fan of PTA, surely you’ve been anticipating this one and it’s always great that it exceeded your expectations. Yeah, I think the father-daughter relationship was nicely handled and it wasn’t glorifying the revolutionary ideals or being overly political.
I laughed more than I thought I would and Jonny Greenwood is one of the best composers working today!
I really hope this film gets a shitload of Oscar nods including Best Director to Anderson. I think this is the most accessible film he’s done since The Master.
I think it’s a shoo-in come award-season, seems that both critics and audiences love this one and it’s made money at the box office. I still need to see The Master!
I just got out of a matinee showing at Dolby Cinema a couple of hours ago and I thought it’s very good, too. This was one of my most anticipated films this fall and I’m glad it lived up to the expectations. But I’m gonna have question the so-called $130mil price tag of the production. I understand shooting on film is expensive but The Brutalist has a fraction of this film and it was also shot on VistaVision.
Did most of that money go to Leo? It was not a period picture, no huge sets to build, no complex CGI sequences or big action scenes that would cost a lot of money to film. I’m thinking they’re just saying it costs that much for marketing purposes. Leo hasn’t been in a low budgeted film in years, so I think they have to say it costs a lot money since it stars Leo. In any case, it’s one of the better films that I saw this year. And I’m not a big PTA either. The last film I saw from him was The Master, which was over a decade ago.
Hey Ted! Glad this lived up to your expectations! Ahah, I think Leo got his standard $20 mil and perhaps another $15 is for Penn, Benicio and maybe Regina Hall? Filming in California is also very expensive while The Brutalist was shot in Hungary I believe.
But yeah, if The Brutalist only cost a fraction of it (only $10 million!!) when it was also shot on VistaVision, then I’d think this one could’ve been shot for around $60-75 million range.
I think CA has tax incentives for movie and TV productions, so it’s not as expensive like it used to be. They have lost so many productions, especially since the Covid years, the government decided stepped in and trying to lure productions back to the state. Of course, it doesn’t effect me what they really spent to on this film. But as a curious person and to my eyes, this film didn’t look like a $130mil production. Lol!
True, surely this production took advantage of the tax incentives. Well, if it indeed cost THAT much, then it’s a long way to profitability, as it’s only made less than $50 mil worldwide so far.
Hi Ruth, I’m looking forward to seeing this one. Loved Magnolia, The Master, There Will Be Blood and Phantom Thread but not a fan of Punch-Drunk Love and Licorice Pizza. What do you think of its Oscar chances?
Hi Patrick! I missed his last two films; somehow they just don’t appeal to me. I heard Inherent Vice, which is also based on Thomas Pynchon’s novel, is overly convoluted.
I think its Oscar chances is good, I’m certain it’ll get a Best Picture nomination and likely a nod for PTA in the Best Director category.
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Wow!
This movie sounds terrific Ruth. I will definitely watch this!
Love all the actors, the mixed genres and political relevance.
A fab review, thank you! xo
Hey Resa! The actors are all great here, the veterans and ingenue alike. I think we’ll be seeing more of miss Chase Infiniti!
Thanks for the kind words, as always. Luv ya!! ʚ♡ɞ
Chase Infiniti! What a cool name. I’ll be keeping my eyes peeled!
Thanks Ruth! Luv ya more! ❦❦🌟❦❦
Yeah, it’s a cool name indeed and she’s got quite a screen presence.
Warmest hugs 🤗🌞💛
Hugs!
xxxxxxxx
While you’re here, have you heard of the movie – “Sentimental Value” starring Stellan Skargard? It won the Grand Prix at Cannes.
Hey Resa! Oh yes, I’ve been hugely anticipating SENTIMENTAL VALUE. It came highly recommended by my friend who went to see it at TIFF. I love Stellan Skarsgård, so I actually just requested a screener link for it. Can’t wait to see it!
Lucky you! If I had known about it before yesterday, I would have gone to see it at TIFF.
Okay…I worked with him! He is absolutely professional and lovely! I think he is an underrated actor.
xxxxxxx
Ohhh my goodness!! You’ve worked with Stellan too? He seems like a lovely man, and so freakishly talented! I love that he can play villains and good guys so effortlessly. He’s so great in ANDOR, which I know is not your thing, but even though it’s set in the Star Wars universe, it feels completely different. Kind of like The Penguin doesn’t feel like you’re watching a Batman series. I’d LOVE to hear more about your experience working with him!
I will tell you about him, later. It was in a movie for Showtime with Holly Hunter. https://vimeo.com/manage/videos/27927135
Oh wow, that is amazing, Resa! So it’s set in Kentucky; was it also filmed there? He’s Swedish but yet so versatile and can portray Americans convincingly. That’s cool to hear that he’s lovely to work with. I absolutely LOVE him in the Mamma Mia movies, which also stars your silver fox boyfriend Pierce Brosnan 😉
Believe it or not…
We shot it in Toronto, and in the countryside at a Mormon summer camp that had no plumbing or running water, which is how the coal miners and their families were living.
It was a terrific project to work on.
Did you recognize Ted Levine? (The insane killer in “The Silence of the Lambs”)
Pierce Brosnan 😉
Lots to be excited about here for PTA’s new! None more so than the increased action and comedy. PTA is usually heavy drama, which I love, but I like the changeup here. Looking forward to this one even more so now.
Hello! Yeah, PTA doing action comedy is fun! I think his last film was an action comedy as well but not as good as this one. Plus the cast is fantastic!
Great cast. I love Leo. My b-day is tmrw 10/02 and I really want to see this with my parents but I know they’ll hate the political slant. So I’ll go it alone like I prefer. Hopefully this month sometime🙂
Oh, happy early Birthday!! Well, as someone who’s not fond of political propaganda in movies (from ANY side, but Hollywood tends to be more left-leaning), I appreciate that PTA doesn’t shove his political views down our throats. Being radical can lead to some serious fallout, even if those who believe in it think they’re on the right path.
Thank you! Related— Tonight the PBS Newshour provided a shocking statistic. According to their poll 33% of Americans now believe some level of political violence may be necessary to put the country back on track. Up from 18% a year ago. Roughly 28% of Dems and 31% of Republicans… Power wants us to fight each other. They trick us with terminology. “Political violence” to direct our attention toward the other side, away from the real enemy. The puppeteer holding both parties, one in either hand… It’s late and I’m a little fired up bc my Reds are losing lol
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