‘One Battle After Another’ Is a Modern Masterpiece, With Leonardo DiCaprio and Paul Thomas Anderson!

Key Takeaways

Paul Thomas Anderson's 'One Battle After Another' is hailed as a potential 'movie of the year and decade'.
The film represents a culmination of Anderson's career, showcasing a new large-scale, action-driven style.
Leonardo DiCaprio delivers a nuanced performance as a protective father, marking an evolution in his roles.
The narrative blends radical politics, complex world-building, and an emotionally resonant father-daughter story.
The film's marketing prioritizes Leonardo DiCaprio's star power, aiming for broad box office and Oscar success.
Anderson and DiCaprio reveal a 20-year development for their first collaboration, setting it in the present day.
The filmmakers emphasize the film's design for a communal, immersive 35mm and IMAX theatrical experience.

Amanda Dobbins declares 'One Battle After Another' the 'movie of the year and the movie of the decade,' citing its prescience.
Chris Ryan describes his IMAX viewing as 'vertiginous' but confirming the film met his high expectations, comparable to 'Oppenheimer'.
The hosts highlight the film's immersive, tactile quality, distinguishing it from CGI blockbusters with its political commentary and deep storytelling.

The film's log line introduces Bob Ferguson (Leonardo DiCaprio) as a revolutionary seeking his missing daughter, with his nemesis Stephen Jay Lockjaw (Sean Penn) resurfacing.
Early scenes explore the 'how-to' of revolution through Perfidia Beverly Hills (Tiana Taylor) and her complex dynamic with Lockjaw, including sexual entanglement.
The plot shifts after a bank robbery and Perfidia's capture, leading to her betrayal of associates and the introduction of Lockjaw's shadowy MKU government agency.

The film introduces a comic sensibility with Leonardo DiCaprio's character interacting with his daughter's friends, marking a turning point.
DiCaprio portrays a protective father, exploring parental obsession and a daughter's desire for independence, using 'transponders' as a plot device.
The hosts note DiCaprio's performance as a parent, nearing age 50, marks an evolution in his acting choices, displaying a deeply felt 'dad energy'.

The conversation likens the film's intricate world-building and simultaneous action sequences to Christopher Nolan's works.
The movie features intercutting plotlines and detailed settings, including tunnels and multi-functional buildings.
A 16-year time jump introduces Benicio del Toro's Sensei Sergio, aiding Bob in an escape through a tunnel after his daughter's abduction, involving the 'French 75' organization.

The 'Christmas Adventurers Club' is revealed as a white supremacist organization seeking to eliminate 'maniacs, haters, and punk trash,' recruiting Lockjaw.
Sean Penn's portrayal of Lockjaw is highlighted for his physical demeanor, compared to Vincent McMahon and Michael Flynn, and is anticipated to reintroduce audiences to his acting caliber.
The discussion critiques the film's commentary on contemporary politics, militarized national policy, and the cynicism around decision-making, including a terrifying protest scene with an agent inciting violence.

Lockjaw's rogue actions lead to a convent confrontation, revealing through a paternity test that he is Willa's father.
Unable to kill Willa, Lockjaw hires bounty hunter Avanti Q (Eric Schweig) to take her to a white nationalist compound.
Avanti's change of heart occurs after witnessing the compound members' racism and mockery of his Native American heritage, leading him to decide to save Willa.

The film's final act centers on a 'roller coaster-like' highway chase in Borrego Springs, California, involving three cars.
Paul Thomas Anderson conceived the chase during location scouting, emphasizing the unprecedented nature of the three-car sequence.
Willa avoids capture by abruptly stopping her car, causing Tim to crash, and then retrieves a gun to fatally shoot Tim in an emotional, raw act.

Johnny Greenwood's score, influenced by composers like David Shire, uses piano notes to build tension and incorporates orchestral moments, including a 'Mobb Deep' needle drop.
Paul Thomas Anderson's reported involvement in 'Napoleon' and 'Killers of the Flower Moon' scripts shows thematic similarities to his work.
Anderson's filmography reveals recurring themes: unsure male protagonists, sexual trauma, unclear parentage, and dissolving families, evident in films like 'Phantom Thread' and 'The Master'.

The film's second trailer is noted for not representing Paul Thomas Anderson's typical style and possibly failing to generate significant interest.
The movie is projected for a $20-30 million opening weekend against a $115-180 million budget, raising questions about audience expectations for an action film starring Leonardo DiCaprio.
Marketing employs a 'Leo forward' approach with Leonardo DiCaprio making rare media appearances, in contrast to Paul Thomas Anderson's usual avoidance of press.

Paul Thomas Anderson reveals 'One Battle After Another' was in development for over 20 years, with producer Adam Somner's push and a sense of 'not getting any younger' prompting its production.
Anderson made 'Licorice Pizza' before feeling ready with the script for 'One Battle After Another,' stating the decision felt 'right' due to production delays.
Leonardo DiCaprio confirms Anderson's interest in collaborating since 2018, impressed by DiCaprio's 'What's Eating Gilbert Grape' performance and predicting a future project.

Paul Thomas Anderson explains the present-day setting was chosen for practical filming considerations and a deeper personal connection from raising teenagers.
Leonardo DiCaprio drew inspiration from films like 'Running on Empty' and Pacino's urgent performance in 'Dog Day Afternoon' for his portrayal of a father.
DiCaprio notes his recent roles feature 'comedic, anxiety-ridden characters,' driven by material and director, with humor stemming from realistic scenarios.

The discussion highlights the resurgence of 35mm film and large-format theatrical experiences as vital artistic expressions, particularly for younger audiences.
Paul Thomas Anderson's film is specifically crafted for communal theatrical engagement, emphasizing impactful and sometimes uncomfortable audience reactions.
Technical aspects, including the use of VistaVision cameras, are mentioned in the context of achieving cinematic quality, with a four-day schedule for scene refinement.