One Battle After Another, Paul Thomas Anderson’s new movie (and the first of his set in the present day since 2002’s Punch Drunk Love), takes place, well, now. It drops the viewer directly into a tumultuous, politically charged landscape and tackles some difficult subject matter. Yet, somehow, it doesn’t feel that heavy. In fact, it’s the best movie experience I’ve had in a movie theater all year.
One Battle After Another feels like a living, breathing thing. The movie’s raw unpredictability permeates it, which isn’t a new aesthetic for Anderson. But this release feels like a personal achievement. When you consider that he’s been developing it for over two decades, that makes perfect sense.
Michael Bauman’s camera work and Jonny Greenwood’s unnerving score are vital components to the journey Anderson takes you on here. In fact, just like the cast, the cinematography and music appear as important characters throughout the story.
Then there’s the cast, which is operating on the highest level.
DiCaprio is superb as Bob. He is a mess, physically and emotionally, and barrels through every obstacle and challenge thrown at him with a disbelieving bravado that convinced me, as a dad, that if I were put in a similar predicament, I would do it all exactly the same way. As Bob, DiCaprio carries every emotion on his sleeve and teeters between heartbreak and slapstick comedy as he strives to do everything he can to protect his daughter.
Speaking of strong female characters, One Battle After Another is stacked with formidable women. Teyana Taylor is a force to be reckoned with as Perfidia. She owns the movie with every moment she is on screen. And when she’s not, her impact on the story is ever-present. Regina Hall, who is most recognizable for her comedy work, delivers some of her best (and thoroughly heartbreaking) work as Deandra.
Penn’s Lockjaw exists on the other side of the spectrum. This character feels extreme, sometimes outright laughable, which only makes the danger he represents feel ever more real. Everything from Lockjaw’s walk to the exasperated way in which Penn brings the bumbling officer to life is both hysterical and frightening.
That’s what makes the movie terrifying; that’s what makes it terrific.
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