“One Battle After Another”
(USA)
Metacritic (8/10), Letterboxd (4/5), Imdb.com (8/10), TMDB.com (8/10), Imdb.com critics review
#BrentMarchant #OneBattleAfterAnother #LeonardoDiCaprio #SeanPenn #BenicioDelToro #TayanaTaylor #ReginaHall #ChaseInfiniti #PaulThomasAnderson #thriller #vigilanterebels #French75 #rightwingextremists #ChristmasAdventurers #sanctuarycity
No matter how much we like to think that life’s bigger concerns have the greatest influence in dictating our actions, it’s nevertheless curious to see how the issues that affect us most personally – those seemingly “smaller” considerations – ultimately hold the most sway over our behavior. That becomes apparent in this latest offering from writer-director Paul Thomas Anderson, based on the 1990 novel Vineland by author Thomas Pynchon. In a quasi-dystopian version of America, a battle for control of the nation’s cultural and sociopolitical direction simmers between leftist vigilante rebels known as the French 75 and conservative authoritarian figures supported by the military and quietly backed by a moneyed class of ultra-right wing White supremacists known as the Christmas Adventurers. But, despite the magnitude accorded to this struggle, in the end, events in the personal lives of the combatants’ individual operatives have more impact in steering their actions. Set over the course of nearly two decades, the story follows the interracial relationship of French 75 members Perfidia Beverly Hills (Tayana Taylor) and Pat “Rocketman” Calhoun (Leonardo DiCaprio) as they carry out various missions reminiscent of 1960s radicals. The duo is in love (sort of), but, in the wake of one of their raids on an immigration detention camp, Perfidia meets and unexpectedly takes a shine to her opponent, Colonel Steven Lockjaw (Sean Penn), an encounter that leads to a tryst and unplanned pregnancy, all without Rocketman’s knowledge. Not long after Perfidia’s daughter is born, however, she leaves her partner to pursue her own rebel agenda, saddling Rocketman with the care of a daughter that he thinks is his. But, when Perfidia is captured by authorities, she rats out her colleagues (including Rocketman) in exchange for a spot in the witness protection program, forcing her former partner and his daughter into hiding. Skip ahead 16 years to a time when Lockjaw has an opportunity to move up in the Christmas Adventurers organization, provided he passes Caucasian purity scrutiny, a tricky proposition as the potential father of a mixed-race child. To cover his tracks on this possible “liability,” he must track down the missing child, now a teenager (Chase Infiniti), who has spent the ensuing years with her presumed dad, both of whom have assumed aliases while in hiding. And, when word of this gets back to them, they’re forced to go on the run to avoid capture (or worse). That’s easier said than done, though, given that Rocketman has developed substance abuse issues that have taken their toll on him. Fortunately, however, he’s aided by a cool, composed street smart sensei master (Benicio Del Toro) who confidently manages the affairs of the immigrant residents of a sanctuary city, having become adept at helping others stay ahead of officials. And so, despite the broader conflict going on around these characters, their priorities are almost exclusively personal as they seek to tend to their respective agendas. But can they? Thus begins a kickass thrill ride as all concerned seek to protect themselves at all costs, a story filled with great action sequences, riveting chase scenes, and mesmerizing twists and turns, with a good measure of comic relief thrown in to make it interesting. Admittedly, there are times (especially early on in the film) when the connections between the various story threads aren’t connected or made clear as well as they might have been, and Del Toro’s character and storyline feel somewhat underdeveloped. But those issues are more than compensated for by the picture’s other strengths, as well as an outstanding performance by Penn in a role in which he expertly plays against type. The film, which has a vibe somewhat reminiscent of the excellent contemporary thriller “Eddington” from earlier this year, is also surprisingly well paced for a movie with a 2:41:00 runtime, a noteworthy accomplishment, to be sure. And, like “Eddington,” this offering has drawn its share of mixed reactions from viewers and critics, probably for some of the same cultural and sociopolitical reasons as those associated with that earlier offering. However, “One Battle After Another” is truly worth the time, another fine release from a gifted filmmaker.