A star is born in Paul Thomas Anderson’s ‘One Battle After Another,’ but this dramedy really is no laughing matter
Paul Thomas Anderson can’t get enough of the ’70s. From the gas lines of “Licorice Pizza” he vaults into Symbionese Liberation Army-esque mayhem and the thrilling sexual lifestyles that people seem to think go with it in 2025’s “One Battle After Another.” There are some common denominators between the two films, chiefly that law enforcement in California aren’t exactly the straightest shooters.
“One Battle” can’t get enough of its real star — not Leonardo DiCaprio but Chase Infiniti, who is gorgeous and not-really-16 and owns the camera in every scene and threatens to take not just her family but the whole movie mainstream just by her beauty. Exactly what she’s doing and training for, who knows; the movie, in unfortunately too-limited ways, works best almost as a “Hannah Montana” riff where this revolutionary prodigy is going about normal teenage life. When she’s ziptied, Anderson is putting the cuffs on his best story.
One of the world’s two famous-and-still-in-their-prime directors from Southern California, Anderson emerged shortly after Quentin Tarantino and clearly is informed by Tarantino’s work, or at least admires it. They’ve done podcasts and interviews together. Anderson was born in 1970, Tarantino in 1963. A big difference between the two is comedy. Anderson struggles with it. Tarantino excels. Tarantino’s comedy hits viewers in the face. Anderson’s requires absorption. He lacks the punch lines.
In “One Battle,” Anderson enlists a Tarantino regular, Leonardo DiCaprio, with a few similarities to DiCaprio’s Rick Dalton character in Tarantino’s “Once Upon a Time... in Hollywood.” Anderson’s movies in general haven’t been what most people would call multicultural. (One plot line about speaking Japanese in “Licorice Pizza” drew complaints. Tarantino enjoys defending his use of language. Anderson’s response to this controversy was awkward, saying it was “lost” on him.) That approach changes notably in “One Battle.” Anderson is not capturing multi-ethnic interactions in the same way that Tarantino does. Some may appreciate the more straightforward approach. Others may miss Tarantino’s wit for these situations.
Anderson’s “Boogie Nights” is a strong, powerful movie. But it is not funny. It’s occasionally jarringly violent. That people may prefer a more humorous take on the industry it portrays may explain why that film, an early October release, didn’t do quite as well with audiences as many expected. In certain moments, “One Battle” attempts humor in the same way as “Once Upon a Time... in Hollywood,” such as when Rick Dalton confronts the “hippies” in his cul-de-sac with a blender. Jokes can abound during a movie pregnancy (witness “Fargo”), but when the baby is born (as in “One Battle,”) it’s a different vibe. Bob Ferguson, who like Rick Dalton has substance-abuse issues, confronts a member of the organization on the phone over the necessity for remembering a decades-old password, and 1) when straight and unflappable Benicio Del Toro offers “8:15” and 2) when the member earnestly protests that they can’t be sure Leo is who he says he is, it’s the funniest moment of the film. Not as funny is when Perfidia Beverly Hills takes aim at a security guard because he continues to crawl.
One red flag about “One Battle” is that, after reported test screenings, its release date was pushed from Aug. 8 to Sept. 26. As Variety explained it, that means it was deemed to have better potential at the awards circuit than box office. Or fewer takers at the megaplex than originally believed.
In “The Player,” Tim Robbins reveals, “Political doesn’t scare me. Radical political scares me. Political political scares me.” What we’ve got here is radical political. Or political political. “One Battle” quickly found a receptive audience from those sharing its disdain for the Department of Homeland Security. But in the category of Regular Filmmaking, it stops and starts and quickly becomes episodic and often runs out of gas. Explosions ... gunfire ... car chases ... people maimed ... jiggly hand-held camerawork ... dystopia. How is this town a “sanctuary city” if this militia-type police can just go there and do what it wants. The movie does have a curious fascination with informing. Characters who spill secrets are regarded less as traitors (despite a certain accusation of “rat”) than overwhelmed and “couldn’t help it.” Several times, a detained revolutionary will spout nonsensical responses to interrogation, then moments later, the goons have all the correct information they need. Establishment brutality ... or are the radicals just not as tough as they look.
Who aren’t the villains here? Corporations seem to be let off the hook, including the tech giants who appear to be the baddies in “Eddington.” Religion and the oil industry, two targets of “There Will Be Blood,” are ignored, even as Anderson shifts the action to a group of “weed nuns” who look like actual nuns. He utilizes a kind of spacious, narrow room as in “There Will Be Blood.” The “One Battle” characters take general aim at fascism. Unlike “Eddington,” Anderson thankfully does not force viewers to look at characters’ cellphones over and over, but his one thread on this subject about someone’s phone being a secret and then being tossed out of a car doesn’t seem needed.
“One Battle” is inspired by the Thomas Pynchon novel “Vineland,” a 1990 work about events in 1984. The movie has something in common with a 2013 Robert Redford film, “The Company You Keep,” in which former ’60s radicals look back and evaluate their actions, but the thriller plot involves having reentered the “grid” and protecting a child and clearing one’s name. In “One Battle,” the characters are still underground, and the only interest in the child is in settling a dispute within the secret society. Unlike in “Company,” the “One Battle” radicals are members for life, able to reconnect in a moment’s notice after years of no contact through passwords and ham radio warnings.
Exactly when the movie, set in two eras, is happening is a subject of critical speculation. Clothes and cars are often the tell, but not here. A lot of directors love cars. Anderson here prefers something basic; it feels like there are 1980s/’90s Ford Tauruses everywhere, but maybe not. Jonny Greenwood, a regular Anderson collaborator, provides a catching, piano-heavy score. But it’s Anderson’s choice of songs, one of his specialties, that stands out more, including his fascination with Christmas.
Though the films aren’t related, “One Battle” feels like Anderson’s entry on the Ambition Circuit with the likes of Francis Coppola’s “Megalopolis” and Yorgos Lanthimos’ “Kinds of Kindness.” All three, with extended run times, were released within about a year of each other. Each intrigues but seems to promise more than it delivers. “Licorice Pizza” was ambitious too but not in the same way. Anderson has given himself a too-lofty anticipation here that he doesn’t reach.
There will be three measuring sticks for “One Battle” — box office, Academy Awards and Best Films of the Century lists. Like “There Will Be Blood,” it will likely do best in the latter category. The box office could be muted by, among other things, the fact this subject matter is in the news daily. The movie is certain to rack up some Oscar nominations because of its extent; it’s long and there’s a lot of talent involved. Anderson has been one of the beneficiaries of the doubled field for best picture Oscar. “Licorice Pizza” and “Phantom Thread” both made it but probably would not have done so in a five-nominee era, given that neither of those films was considered to have a decent chance at winning. That’s a shame, as “Licorice Pizza” is a highly flawed but entertaining time capsule with sequences of great filmmaking, and “Phantom Thread” is a masterwork.
Reportedly, “One Battle” got its extraordinary budget on the strength of landing Leonardo DiCaprio. But this isn’t Jack of “Titanic,” this is more along the lines of the financial bust “Killers of the Flower Moon,” in which Ernest is sort of a bad guy and sort of a stooge who begins to see the light, and audiences — those who sat through the four hours — yawned. To Anderson and DiCaprio’s credit, that kind of ridiculous ambiguity isn’t happening here. But those expecting to be charmed by DiCaprio in “One Battle” will be mostly disappointed by the constantly scruffy, constantly under the influence borderline “Big Lebowski” type with machismo insecurities. It is either to DiCaprio’s credit or detriment that at advancing movie-star age, he is more into seamier roles than the crowd pleasers of Harrison Ford and Tom Cruise.
One person charmed by DiCaprio is co-star Chase Infiniti, who reveals she was “obsessed” with DiCaprio’s “Catch Me If You Can” and “would watch it all the time.” Anderson showed her “The Searchers” and “Barry Lyndon” to “expand her horizons.” He and she overdo it on kickboxing, in and outside of the movie. By the time we meet Infiniti at “16” (she is reportedly around 25 at film’s release), they have pretty much already won. Her dad could always be taken away, but she can no longer be confiscated by the system, and the “system” only cares about her for different reasons than Bob, despite his ability to build and maintain a remarkable tunnel, is aware of. Infiniti outduels not only the bad guys but her director. She is the perfect actress for the wrong part and the movie follows that face, not Anderson’s script.
2 stars
(October 2025)
“One Battle After Another” (2025)
Starring
Leonardo DiCaprio as
Bob
♦
Chase Infiniti as
Willa
♦
Teyana Taylor as
Perfidia
♦
Regina Hall as
Deandra
♦
Wood Harris as
Laredo
♦
Alana Haim as
Mae West
♦
Shayna McHayle as
Junglepussy
♦
Paul Grimstad as
Sommerville
♦
Dijon as
Talleyrand
♦
Brooklyn Trueheart Demme as
Sober Rick
♦
Sachi Diserafino as
R.A. Rippey
♦
Melissa Dueñas as
Sylvia
♦
Sean Penn as
Col. Steven J. Lockjaw as
♦
Starletta DuPois as
Gramma Minnie
♦
Vanessa Ganter as
Momma Sandrae
♦
Otillia Gupta as
Newborn Baby Charlene
♦
Nia Leon as
Baby Charlene
♦
Peter N. Lyas III as
Bank Security Guard
♦
Joe Silva as
Sgt. Joe
♦
Jeffrey Massagli as
Official Lockjaw Award
♦
Nicole J. Sunseri as
Witness Protection Officer
♦
Benicio Del Toro as
Sensei Sergio St. Carlos
♦
Tisha Sloan as
Willa’s Teacher
♦
Alberto Garcia as
Snap Crackle Pop Kid
♦
Antonio Tadeo Garcia as
Snap Crackle Pop Kid
♦
Eric Schweig as
Avanti
♦
Tony Goldwyn as
Virgil Throckmorton
♦
James Downey as
Sandy Irvine
♦
John Hoogenakker as
Tim Smith
♦
Kevin Tighe as
Roy More
♦
D.W. Moffett as
Bill Desmond
♦
Patricia Ridgely Storm as
Alice More
♦
Ted McCarthy as
Christmas Ted
♦
Jeremy Boone as
CAC Security
♦
James Raterman as
Danvers
♦
Bryan Pickens as
Billy Toejam
♦
Travis Johnston as
Soldier
♦
Matthew Demildt as
Soldier
♦
Jason Belford as
Soldier
♦
Matthew McDonnell as
Soldier
♦
Jose Barreiro as
Soldier
♦
Quentin L. Carter as
Soldier
♦
Brian Bishop as
Soldier
♦
Daniel Zinoviev as
Soldier
♦
Steve Knoll as
Military Man
♦
Sam Hunter as
Military Man
♦
Louis Hoffman as
Military Man
♦
Steven P. Jacobson as
Military Man
♦
Justin Millmore as
Military Man
♦
Peter Sutherland as
Military Man
♦
Carlos McFarland as
Bluto
♦
Colton Santana Gantt as
Bobo
♦
Elisabeth Pease as
RiRi
♦
Autumn Crosswhite as
Autumn
♦
Mickey Giacomazzi as
Deandra’s Van Driver
♦
Omar Khattab as
Principal
♦
Stephanie Coker as
Bathroom Girl
♦
Kayla Harvey as
Bathroom Girl
♦
Kimberlyn Ramirez Moreno as
Bathroom Girl
♦
Sydney Ann Taylor as
Bathroom Girl
♦
Maria Fernanda Jimenez Nava as
Bathroom Girl
♦
Jena Malone as
Greeting Code (voice)
♦
Dan Chariton as
Comrade Josh
♦
Sandra Iturbe as
Reina
♦
Marisela Borjas Ramirez as
Marisela
♦
Derrick J. Saenz as
Primo Derrick
♦
Esperanza Rodarte De Santoyo as
Esperanza
♦
Hadasa Genesaret Palomares as
Sacred Heart
♦
Gilberto Martinez Jr. as
BeeGee
♦
Luis Trejo as
Luis
♦
Julian Corral as
Julian
♦
Elijah Joseph Sambrano as
Latino Heat
♦
April Grace as
Sister Rochelle
♦
Sherron Gassoway as
Sister Vox
♦
Pearl Minnie Anderson as
Sister Coco
♦
Sister Kate as
Sister Kate
♦
Sister Halla as
Sister Halla
♦
Sister Lilly as
Sister Lilly
♦
Sister Esme as
Sister Esme
♦
Sister Karina as
Sister Karina
♦
Sister Laura as
Sister Laura
♦
Sister Delphi as
Sister Delphi
♦
Sister Yuka as
Sister Yuka
♦
Bella Feinstein as
Sister
♦
Madison Feinstein as
Sister
♦
Tuesday Hansen as
Sister
♦
Zoe Herschlag as
Sister
♦
J. Izon as
Sister
♦
Joanna Scott Satterwhite as
Sister
♦
Robert Sherock as
Paddy Wagon Cop
♦
Lynette M. Telles as
Police Station Nurse
♦
Ann Limbaugh-Brouhard as
Hospital Nurse
♦
Antonio Garcia as
Tacos T-Shirt
♦
Emilio Carranza as
Fruit Stand Tio
♦
Juan V. Ramirez as
Fruit Stand Primo
♦
Ron Bermudez Perea as
Fruit Stand Primo
♦
Edith Ascencion as
Sensei Sheriff
♦
David Reynoso as
Sensei Sheriff
♦
Timothy Cruz Kravitz as
1776 Relentless
♦
Jon Beavers as
1776 James
♦
Anthony Weise as
CB Radio
Directed by: Paul Thomas Anderson
Written by: Paul Thomas Anderson
Inspired by: The novel Vineland by Thomas Pynchon
Producer: Paul Thomas Anderson
Producer: Adam Somner
Producer: Sara Murphy
Executive producer: Pete Chiapetta
Executive producer: Andrew Lary
Executive producer: Anthony Tittanegro
Executive producer: Will Weiske
Music: Jonny Greenwood
Cinematography: Michael Bauman
Editor: Andy Jurgensen
Casting: Cassandra Kulukundis
Production design: Florencia Martin
Art direction: Andrew Max Cahn, Albert Cisneros, May Mitchell
Set decoration: Anthony Carlino
Costumes: Colleen Atwood
Makeup and hair: Ahou Mofid, Heba Thorisdottir, Gina Marie DeAngelis, Mandy Artusato, Lindsay Rogers, Sacha Quarles, Danny Robles, Prell Charusanti, Thomas Floutz, Christopher Allen Nelson, Jessica Nelson
Production supervisor: Bonni Camen
Production supervisor: Demelza Cronin
Unit production manager: Will Weiske
Post-production supervisor: Erica Frauman
Production supervisor: Texas: Karen Ramirez
Production supervisor: Eureka: Kerri Smeltzer
Special thanks: Jack
Special thanks: Lucy
Special thanks: Ida
Special thanks: Pearl
Special thanks: Billy Dowd
Special thanks: Cassandra Hesseltine
Special thanks: Reina Reyes
Special thanks: Giovanni Ribisi
Special thanks: Maya
Special thanks: Carmen Ruiz de Huidobro
Special thanks: Mark Somner
For: Adam
