Plot and Performances
In One Battle After Another, Leonardo DiCaprio portrays Bob Ferguson, a charismatic demolitions expert for a radical outfit called The French 75. Alongside his wife Perfidia, played by Teyana Taylor, Bob carries out a string of high‑octane raids, bombings, and heists that feel ripped from a 1970s action pulp novel. The film’s first act pivots when Perfidia gives birth to their daughter Willa, nudging Bob toward an unexpected softness while his partner stays laser‑focused on the cause.
Sean Penn steps in as Colonel Steven J. Lockjaw, the relentless government officer who eventually crushes The French 75. After the crackdown, Bob and a toddler Willa go underground, disappearing into a world of petty theft and drug‑induced haze. Sixteen years later, the narrative jumps forward: teenage Willa (Chase Infiniti) is fighting her own battles, while a broken Bob has become a drunk, haunted by his past.
The second half of the film expands the ensemble. Regina Hall appears as Deandra, an ex‑fighter who still owes Bob a favor. Benicio del Toro delivers a surprisingly lean performance as Sensei Sergio St. Carlos, a karate instructor with his own secret revolutionary agenda. The supporting cast adds texture, but the real engine of the story remains the uneasy father‑daughter bond trying to survive Lockjaw’s relentless pursuit.
- Leonardo DiCaprio – Bob Ferguson
- Teyana Taylor – Perfidia
- Sean Penn – Colonel Steven J. Lockjaw
- Regina Hall – Deandra
- Benicio del Toro – Sensei Sergio St. Carlos
- Chase Infiniti – teenage Willa
Tone, Politics, and Reception
Sonny Bunch’s review describes the film as a chameleon that never quite settles on a single shade. One moment it erupts into a slap‑stick, almost absurdist comedy—think bomb‑laden car chases set to upbeat pop tracks. The next, it leans heavily into thriller territory, with Lockjaw’s relentless tracking creating genuine tension. Between those poles lies what Bunch calls “pandering sogginess,” a stretch of melodramatic moments that feel forced, especially when the script leans into family‑talk clichés.
Politically, the movie lands in a minefield. It dramatizes left‑wing terrorism at a time when global discourse around activist violence is especially fraught. Some critics argue the film exploits the topic for shock value, while others see it as a timely satire that forces viewers to confront the human cost of radical ideology. Bunch leans toward the latter, noting that Anderson’s long‑standing fascination with power dynamics—seen in earlier works like "There Will Be Blood"—resurfaces here, albeit with a more overtly partisan veneer.
Even with its tonal wobble, Anderson’s signature visual flair shines through. The cinematography spins between handheld chaos during raids and meticulously composed still‑frames in the quieter family scenes. The soundtrack, a mash‑up of 70s rock and contemporary electronica, underscores the film’s restless energy. Bunch concedes that these technical strengths keep the audience glued, even when the narrative feels uneven.
Other reviewers have taken a more enthusiastic stance, calling the film a “frenetic, hilarious ride” and a “scorching political thriller with a heart.” Bunch’s tempered praise suggests that while the movie may not sit alongside Anderson’s masterpieces, it still offers enough of his distinctive storytelling craft to merit a watch. In short, it’s a film that asks you to laugh, gasp, and perhaps cringe—sometimes all at once.
