Review: One Battle After Another - Paul Thomas Anderson's Peak Artistry Unleashed

What makes a masterpiece? Is it the defining performance of a cast’s career? A witty, thought-provoking script? The way a camera glides to punctuate a story beat? A score that not only sets the tone but reshapes it? The editing that sustains rhythm and momentum? The production design and costumes that immerse us in another world? Or is it a film that transcends genre and enters a class of its own, a singular work of an auteur? If a filmmaker can check even two-thirds of those boxes, we might be looking at a masterpiece. With One Battle After Another, Paul Thomas Anderson doesn’t just check every box; he orchestrates them into a breathtaking symphony of craft, flexing his power as a director while making it all feel effortless. For Paul, "this is something you do for a billion years, or not at all. This isn't fashion." – The Master

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I waited until after my second viewing to write this. On first watch, I was floored by PTA’s uncanny ability to make the right decision at every turn. The film’s tone is thrilling, unnerving, and hilarious, often within the same moment. The editing keeps the 2-hour-40-minute runtime flying, leaving me craving more time in this world. The cinematography is in a class of its own: Anderson doesn’t just deliver one of the greatest car chases in film history, he gives us several. Every time a car appears on screen, the camera creates magic that gets your heart racing. Johnny Greenwood’s score might be their best collaboration yet; it’s masterful enough that I listened to it on repeat while writing this review. If this score doesn’t move you, then "I'm quietly judging you." – Magnolia

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Though Anderson often works with familiar collaborators, only four here are returning players: James Downey (There Will Be Blood), Alana Haim (Licorice Pizza), Benicio Del Toro (Inherent Vice) and Sean Penn (Licorice Pizza). Penn, in particular, is delivering a performance worthy of an acting thesis, he makes bold choices and commits to them fully, reaping huge rewards. Benicio Del Toro feels born to play Sensei Sergio St. Carlos, bringing a perfect balance of zen and humor as counterweight to Leonardo DiCaprio’s "Bob". The newcomers, however, shine just as brightly. Regina Hall is transformative, anchoring the film’s emotional core in a way we’ve rarely seen from her. Teyana Taylor (I owe you an apology, I wasn’t really familiar with your game) delivers a powerhouse performance that sets the tone for everyone else. Chase Infiniti is electric, a rising star destined for household recognition. And Leo… considering his extraordinary career, this may sound like hyperbole, but I believe this is his best performance to date. He was made for a PTA film, specifically this one. "Th… That’s That!" – Punch-Drunk Love

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Then there’s the story itself. Some may call this Anderson’s most “political” film, but I’d argue it’s his most urgent. Set in what feels like a dystopian future, it quickly reveals itself as a thinly veiled reflection of our present. Immigration detention centers, militarized policing, Black power, civil liberation, these themes are central, but never heavy-handed. In classic PTA fashion, they’re woven into play, satire, and paradox. He doesn’t take sides so much as throw punches in every direction. I can’t think of another filmmaker who blends drama with comedy, political thriller with parody, existential dread with cathartic resolution so seamlessly. It feels like Anderson’s cinematic challenge to the industry itself: "You don't have the balls. I'm cooler than you. Don't forget it." – Licorice Pizza

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I could talk about this film endlessly, and likely will for years. Every aspect is crafted with such precision and passion, yet flows with effortless grace. That’s the paradox that makes One Battle After Another a masterpiece. Rarely do I want to rewatch a film before my first viewing is even over, but that’s exactly what happened here. I saw it first in IMAX, then in 70mm at Portland’s Hollywood Theatre (the only venue in Oregon or Washington showing it in the format). VistaVision isn’t an option near me, but you can bet I’ll be seeking out a third theatrical showing. If I could address the film directly, I’d say, "I feel as if I've been looking for you for a very long time." – Phantom Thread

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And finally, a reminder: Paul Thomas Anderson has never won Best Picture or Best Director. Boogie Nights, Magnolia, There Will Be Blood, and Phantom Thread all lost to lesser works, in my opinion. That should end this year. Until now, I hadn’t rated a single new release as 5 stars, beginning to wonder if I was simply too harsh. My top films, Sinners, Dead Man’s Wire, The Captive, Irkalla: Gilgamesh’s Dream (the last three seen at TIFF) , were all hovering at 4.5. But One Battle After Another revealed what they were missing: the complete package, the ineffable quality that defines a masterpiece. This is a true 5-star film. If anything’s certain, it’s that "(PTA is) a star. (He is) a big, bright, shining star. That's right." – Boogie Nights

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