A fierce political, dark funny and crowded with exciting chase from cars and deaf shootings, "one battle after another" is unlike anything Paul Thomas Anderson had done before. Hell, unlike everything that has a great studio he did in a long, long time. The fact that it exists in the current form - as a big movie for a budget event, with a great movie star in the lead - is a kind of modern film miracle. Shot in Vistavision by Anderson and Michael Baumann, "One Battle After Another" causes pictures that is haunting modern children in tin cages, the Wallid border catches at night like some kind of alien monolith, police officers in military styles.

Anderson does not drag no shot here, nor preaching. Instead, he makes the type of film that could exist more comfortable in the late 1960s or early 1970s, when Studios took a chance to allow directors to run wild with personal expression before taking over the blockbuster, and returning to the box office became the bottom line. Has this kind of movie play with a modern audience grown so accustomed to a homogenized spoon? I don't know, and that's not really my concern. All I know is that "one battle after another" is the best movie of the year.

Very loosely inspired by Thomas Pinchon's novel "Vinland" (in the seals, Anderson says he "stole the parts (of the book) who really reasoned" with him, with the blessing of Pinchon), "one battle" is for revolutionaries who looked at the time to slip. The promise of the future is only further strained in dirt. "Everyone knows the war is over, everyone knows that the good guys lost," Leonard Cohen's song quoted a song. One of those revolutionaries is a stone stone from his mind and watches films for more successful revolutionaries than the 60s. What would happen if something suddenly shook him from his stupidity?

One of the most interesting things for "one battle after another" is like Anderson Picture Portrait of the World and hopelessly dark and absurdly funny. Then, again, it is also the world we live in the moment. The prevailing sense of some death and inevitably oppression hangs above all, and yet the film somehow manages to be easy and funny loudly funny on many occasions. Only one example: Anderson finds that the seemingly Almighty White Supreme Cult is more or less leading the country behind the scenes. Pretty dark and malicious! But they are ridiculously called a club for Christmas adventurers and when they gather at meetings, they proclaim "Heil St. Nick!"

As a "one battle" begins, we meet an explosive expert Pat (Leonardo DiCaprio), who works with an underground revolutionary gang known as French 75. The road is crazy for colleagues revolutionary Perfidiums Beverly Hills, a few -daunting Perfidia also attracts the eye of Colonel Steven J. Lokjav, a racist military man who converts this fiery black woman into a kind of fetishist subject to the lust and a distorted desire. As he starred in alarming and darkened John Penn, Lokjav is one of the most memorable films for a long time-a solid closed package of self-power, nervous energy and self-righteousness. He works as a kind of lizard, moving entirely of instinct and self-general. There is no quality of redemption of the character, and Penn has never been more disgusting (at least on the screen) than it is here.

Things come to the head when Perfidia gets pregnant and giving birth to a daughter. At first, she tries to start a family with a road and her new child, but while the road clearly loves and nurtures the baby, Perfidia feels alobomoral on the newborn and seemingly no desire to be a mother. After a bank robbery goes very, very wrong, members of the French 75 are scattering in the wind, with Perfidia disappearing and taking the new identity of Bob Ferguson and taking his daughter Villa with him.

This whole starting salvo of "One Battle by the Other" takes place with a double, electricity that made me climb to my place, aided by Jononi Greenwood's clay musical result. Everything in these opening scenes feels incredibly out of mileage, border fever. Anderson stabs him with a chase sequence that is an exciting and just taste of what will happen-like "Crazy Max: Hughes Road" "One battle" eventually becomes a billing scene in a chase, never let go, saying through his 162-minute time.

After this opening, "one battle" jumps forward for 16 years. Villa is now a teenager played by newcomer Chase Infiniti, who is something Revelation here. The villa will pass a huge piece of film in Peryl, which means that infinits should play the role in an almost constant state of panic and confusion. This is not an easy feat, and yet she does with such a natural grace that is extraordinary, and later moments when the villa starts fighting back.

As for Bob, it is the very definition of exhaustion. DiCaprio is always great when it is funny in a sad, pathetic way (see: "Wolf of Wall Street" And "Once, long ago in Hollywood"), And he plays Bob as a man who has ever struggled with the good struggle, but who now can't remember where the hell is half the time. DiCaprio is constantly funny here, waving around in a bathrobe and looks probably roasted. He spends the smoking pots and gets a day drunk, which turns out to be a big problem when Lokjav returns to his life and turns everything upside down, putting her villa in serious danger.

Bob suddenly has to turn to his old underground revolutionary help network, but his brain is so fried that he cannot remember the secret passwords needed to roll the ball. Fortunately, he has the help of Karate Sergio instructor, played by the scene, without the effort of Cool Benissio del Toro. Sergio has his own underground secrets and he is happy to help Bob if it means sticking to the fascist government that sends false protesters to fuel the violence on the streets.

As a director, Anderson is a modern master, and I liked or wanted virtually all his films to this day (the only title I don't have a lot of Fondube is his debut, "Hard Eight", aka "Sydney"). He is a director clearly influenced by the directors he grew up watching - especially Robert Altman and Martin Scorsese. It creates challenging films driven by adults who feel almost contrary to everything else at the moment of multiplex, a fact that has become even more accurate, as modern Hollywood exit has increased increasingly seriously and uninspired. With "one battle after another", he did something really stunning. I don't know if I would declare this Anderson Best Movie, but he took an incredibly big swing here, managing to craft a film that is unobtrusively political, while it is also a wild and crazy cozy crowd. These two things feel as if they should be in contrast to each other, and yet Anderson finds a way to make everyone smooth.

"One battle after another" does not give up on the idea that the US government has become oppressive and totalitarian. It is not afraid to suggest that sometimes political violence can be guaranteed, especially when all other regress have failed. Anderson's script suggests dark, unstoppable forces forever pull the strings behind the scenes at any time. This film often feels like a powder, ready to leave.

And yet, Anderson also keeps the film constantly fun and funny. Almost everything DiCaprio does here is funny - a long sequence where he argues with a colleague's revolutionary on the phone, continues to build and build, grows fierce to the latter. Then there are the action scenes. I don't think anyone would classify Anderson as an action director, but "one battle after another" is a drive, loaded with shootings and a long -running car final that is so intense and exciting that I felt like I was going out of my place and starting to walk around the theater. Are you even allowed to make movies like this more, on this type of large scale? I don't know, but Paul Thomas Anderson did. Viva La Revolchion.

/Movie rating: 10 out of 10

"One battle after another" opens in theaters on September 26, 2025.