I’m sure every generation at some point or another has thought: “this is the worst it’s ever been”. Worry, fear, sadness, anxiety; all of these aren’t new feelings magically invented every time a generation grows up and has to finally think for itself. The world has always had something bad going on in it, and call me a pessimist if you want, I don’t think that will ever really change. But it can be good to face the horrors of today head on, acknowledging the pain being caused and enveloping yourself in the dread as a means to drive you towards actively doing what you can to fight for a better future. If that’s how you like to handle things, then do I have the 2025 movie for you. It’s called Eddington.

But, if you’re looking for something a little more hopeful but no less poignant, well you’re in luck, because that’s the movie we’re talking about today. But not only does it succeed in all that, I have the pleasure of saying that it may potentially also succeed at being a goddamn masterpiece.

One Battle After Another may just be the movie of the year for me; a movie that is so intrinsically connected to our current state of affairs but also remembers to entertain you in ways you’ll be pressed to find this year. Unflinchingly gripping, electrically paced, and way funnier than it probably has any right to be, this prickly-themed film may just turn out to be one of the biggest crowd pleasers of the year. I was lucky enough to see this in 70mm with a hyper-engaged crowd and I have not come down from that high as of yet. That’s gotta tell you this is something special, and if you aren’t totally sold yet, I hope I can do that for you.

The film follows a washed up, stoner revolutionary named Bob, who’s been out of the game for many years after his lover was arrested and ratted out their whole operation, leaving him with a daughter to raise on his own. Sixteen years later and a ghost of Bob’s past comes back to haunt him with an eerie fascination in capturing his daughter Willa. Now Bob has to dust himself off and try to be the warrior and the father he always needed to be…but one more puff of a joint and one more sip of a beer couldn’t hurt, could it?

Paul Thomas Anderson is one of those directors that has been in my blindspot for entirely too long. Outside of The Master, Magnolia and Liquorice Pizza, it’s clear I’ve got a lot of catching up to do. But, from what I do know about the man, you can tell a lot of what drives him is right here. The stoner characters, the vulnerability and the appreciation of the past are all expected, but it’s that last one that feels noticeably different. A lot of PTA’s films center around the fascination with a long-gone period of time, but this is one of the first that I’m aware of that so enthusiastically tackles the future head on. His love of bygone eras clashes with the reality of time-moving forward; instead of people building towards the future, his characters are now fighting for it. And like I said, his approach to this reality is a lot more hopeful and less nihilistic than you may think. Maybe it’s because the guy’s a father, because you can really feel the compassion for the up and coming generations through Willa, who’s born into less-than-ideal circumstances yet finds that spark of fight that she saw leave her dad long ago. The father/daughter angle here is quite heartwarming, managing to provide so much development despite the father and daughter being separated for most of it. Additionally, PTA’s attention to intentional framing returns, with some all-timer shots and compositions that we’ll talk about a little later. In short; yeah, this guy knows what he’s doing and he should probably keep doing it.

I love that we are currently in my favorite era of Leonardo DiCaprio performances; the pathetic, incompetent doofus era. Much like his roles in Once Upon a Time…In Hollywood and Killers of the Flower Moon, DiCaprio’s Bob is a stoned, paranoid, antsy protagonist whose biggest obstacle ends up being himself. He’s so entertaining in his helpless anger, but his regrets over the way his life has gone offers some pity and growth for an otherwise one-note character. Newcomer Chase Infiniti is also a standout as Bob’s daughter Willa, kind of representing the new generation that wasn’t exactly given the right tools to work with from their parents but finds themselves forced to figure it out once thrust into harsh reality. Benicio del Toro plays a great embodiment of community and tranquility as Sensei, while Regina Hall and Teyana Taylor offer different insights into the revolutionary mindset as Deandra and Perfidia respectively. I do wish we could have gotten a bit more from them however, as they bring up interesting takes on duty and self-preservation that ultimately don’t see as much play as I would have liked. 

But there is one character everyone will be talking about, and for good reason. That’s Sean Penn’s unnerving, unrelenting maniac Colonel Steven Lockjaw. Not to be hyperbolic, but this is a generational performance. The man manages to be scary, pathetic, manipulative and a loose cannon all at once, kind of reminding me a lot of Dennis Hopper’s Frank Booth from Blue Velvet. Really, he’s the most layered and intriguing character in the whole film, and you get to spend a lot more time with him than you’d expect. Penn really has this thing down to a T, from the way he walks to the way he twitches his lip to that fuck ass haircut. The man is so vile and repugnant, but there’s almost a tinge of…well, not sympathy, but understanding to him. He’s either confused about who he is and what he wants, or is willing to betray everything he seemingly stands for for his own impulsive desires. Maybe both? Either way, I cannot shut up about how great of a performance this is; easily one of the best villain performances of the decade and probably beyond.

This thing is damn near three hours long, and truthfully, I don’t think it ever felt like it. This is due in part to every piece of this machine working in synchronicity, keeping this thing compelling and magnetic throughout. The script is obviously a standout, particularly with the comedy. It never feels like the film is setting up jokes; rather, finding humor in the insanity and the naturalism of the world. It helps to dissolve tension in the story, but never in a way that undermines the danger of the situation. That’s kind of the beauty of it; the malevolent powers causing most of the film’s problems are often bumbling, unseriousness and ridiculous. But, because of the power they hold, they’re still seen as obvious threats, just not invincible beacons of evil, which feels very pertinent to today. Meanwhile, the flow of the film is paced so well, never having a single drip in energy or purpose or entertainment throughout. Even when something straightforward is happening, the composition and camera is working overtime to make sure everything stays interesting. A conversation in a mirror, a deal being struck shot far away, a rollercoaster of a car chase over sloping hills that is so mesmerizing and so tense that it’s bound to stay in my mind for a long while. But you also can’t ignore the frenetic score, with some of my favorite bits being the fluttering pieces in the third act as a handful of people desperately search for their targets. It looks great, it sounds great…are you picking up that this movie is great?

But with the film being so entrenched in real world issues, what’s it all about? What’s the big takeaway from it all? Honestly, and I don’t say this a lot…I don’t think that’s what’s important here. Sure, it’s part of the framework for the story PTA is trying to tell, but I do think a lot of it is only relevant because it’s set in the present. He could have picked many other eras to set this in, as he has been known to do, but he didn’t. It’s clear what side of the fence PTA may sit on with some issues, but at the same time, he isn’t trying hammer home an overtly political message. At the heart of this film is those themes of fatherhood and the worry over whether or not we’ve done enough to prepare our kids for the future. This whole thing feels undeniably personal, with PTA choosing to not critique a generation he doesn’t understand, but to believe in the hope that the kids are gonna be alright. The belief that just because the world doesn’t seem to change the way you want it to doesn’t mean you stop fighting. It is a universal theme that he knows holds exceptional weight in the here and now, and setting the film in the current day will maybe give those who watch it hope that there is still more fighting to do.

But don’t be scared off by any of this deep, thematic talk. This is a highly accessible movie that I think is going to give a lot of people a thrill ride they’ve been desperately looking for. It will reel you in with its performances and presentation, keep you invested with its expert pacing and wickedly funny humor, and leave you satisfied with where it ends up and what it says about the future. For the love of God, do not let this one slip by. This is a movie made for the big screen and one of the biggest reasons to go to the movies you may find this year. I loved it, and maybe you will too. Hail Saint Nick, everybody.

RATING

VIVE LES FRENCH 75

Look, how could I have a movie with a revolutionary group called the French 75 and not have the drink be some kind of riff on the popular cocktail. It’d be like reviewing The Blues Brothers without the Orange Whip, or Salo without the mudslide. But this isn’t any ordinary French 75. To match the dusty California desert setting, I’ve decided to introduce some hibiscus and peppercorn flavors to give it a bit of earthiness, along with some habanero for a little added spice. Yet this still retains the bubbly, sweet nature the original drink is known for. It’s a drink worth forgetting your family safe word for just so you can remember this recipe.

INGREDIENTS

• 1.5oz hibiscus infused gin
• 1/2oz green chartreuse
• 1/2oz lemon juice
• 1/2oz agave nectar
• 2 dashes habanero bitters
• Top: champagne
• Garnish: lemon twist

INSTRUCTIONS

1. Add ingredients to a shaker and shake with ice.
2. Strain cocktail into a chilled champagne flute.
3. Top with champagne.
4. Garnish with lemon twist.