Paul Thomas Anderson’s One Battle After Another is a sprawling, ambitious war drama that’s as mesmerizing as it is uneven, turning Thomas Pynchon’s ’80s-set Vineland into a deeply humanist story of rebellion that will be read as 2020s political commentary despite never using terms like MAGA or Antifa.

Set during the final days of a fictional civil conflict, the film follows a small band of disillusioned soldiers trapped between duty and survival. True to Anderson’s style, it’s less about battlefield spectacle and more about the fractures within human nature, though the opening sequence is more akin to most action movie closers - loyalty, ego, and the slow corrosion of ideals. While the premise promises tension, the film’s power lies in its quieter moments: conversations by candlelight, the haunted stillness after violence, and the eerie poetry of men who’ve forgotten why they fight.

Visually, the film is stunning. Shot in a rich, desaturated palette by cinematographer Michale Baumann, the landscapes feel ghostly and tactile. Anderson’s war is drenched in mud, smoke, and moral ambiguity. The camera moves with a deliberate, almost meditative rhythm, lingering on faces more than explosions. The score, from frequent collaborator Jonny Greenwood, blends mournful strings with distorted percussion, creating a soundscape that feels both beautiful and unsettling.

Technically, One Battle After Another is immaculate - a masterclass in atmosphere and craft.
Where the film falters is in its pacing and emotional focus. Anderson juggles several character arcs, and while performances are uniformly strong, particularly Infiniti, Hall, Penn, DiCaprio and Del Toro the film occasionally feels overextended. The narrative sprawls, with scenes that meander or repeat emotional beats. There’s brilliance in its texture and tone, but the story sometimes struggles to deliver the emotional payoff it builds toward.

Still, even when One Battle After Another loses its way, it remains fascinating. Anderson’s ability to weave chaos and contemplation makes this a war film unlike any other. It's more reflective than explosive, more haunted than heroic.

RTL

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It may not rank among his greatest works, but it’s a compelling addition to his filmography: flawed, challenging, and full of moments that linger. For all its imperfections, it’s the kind of film that rewards patience and provokes thought long after the credits roll.