One Battle After Another Review: Satirical Knickknack
Okay, hereS a breakdown of the key elements and themes present in this film review of Paul Thomas Anderson‘s One Battle After Another, focusing on its plot, characters, and critical assessment:
Core Plot & Structure:
* Initial Setup (Act One): The film begins with a radical group, “The French 75,” engaging in anti-capitalist acts of sabotage. A complex, fraught relationship develops between Perfidia, bob, and Lockjaw, including a disturbing sadomasochistic dynamic and an illegitimate child (willa). Perfidia ultimately betrays the French 75, leading to their downfall.
* Time Jump: A 16-year time jump occurs, signified by the use of Steely Dan’s “Dirty Work.”
* Second Act (Family Drama): The film shifts into a family drama focusing on Bob as a paranoid, overprotective father to teenage Willa. The story involves Willa’s strained relationship with Bob, a betrayal by a nonbinary friend, and the continued pursuit by Lockjaw.
* Overstuffed Satire: the review describes the film as “overstuffed” with elements like car chases, a secret society obsessed with racial purity, and a martial arts underground railroad.
Key Characters:
* Perfidia: Initially a central figure, she’s described as compelling in the first act but ultimately becomes an “afterthought” in the narrative. Her importance to the emotional arc isn’t fully realized.
* Bob: A flawed guardian to Willa, characterized by paranoia and overprotectiveness. The review criticizes him as a “shallow cartoon character” and suggests DiCaprio leans into unattractive aspects of the role.
* Willa: The teenage daughter, meant to be a symbol of hope for the future. Though, the review feels anderson prioritizes the male characters over her potential.
* Lockjaw: Obsessed with finding Perfidia and bob, and desperate to join a racist secret society. Also criticized as a shallow character.
* Sensei Sergio: A martial arts instructor running an underground railroad.
* Willa’s Nonbinary Friend: A character who betrays Willa and Bob. The review notes a problematic trope of “minority and marginalized people being quick to betray.”
Themes & Critical Assessment:
* Family Dysfunction: the film is positioned as a family drama in the style of Anderson’s Boogie Nights and Magnolia.
* Betrayal & Obsession: betrayal is a recurring motif, driving the plot and character interactions. Lockjaw’s obsession is a central force.
* satire: The film attempts satire, but the review suggests it’s “overstuffed” and doesn’t fully land.
* Gender & identity: the inclusion of a nonbinary character and Willa’s father’s reaction to thay/them pronouns introduces themes of gender identity,but the review suggests this is glossed over.
* Problematic Tropes: The review points out a possibly harmful trope regarding the betrayal by a marginalized character.
* Character Development (or Lack Thereof): A major criticism is the underdevelopment of Perfidia and the prioritization of shallow male characters (Bob and Lockjaw) over potentially more compelling female characters (Perfidia and Willa).
* Performance vs.Character: The review suggests DiCaprio and others are playing into unattractive character traits rather than creating nuanced portrayals.
* Technical Strengths: Jonny greenwood’s score is praised as the film’s “lone unimpeachable contribution.” The car chases are well-staged, though not especially exciting.
overall Impression:
The review paints a picture of a film that is enterprising and visually competent (car chases, Greenwood’s score) but ultimately flawed. It’s criticized for being overstuffed, relying on problematic tropes, and failing to fully develop its female characters. The reviewer feels Anderson has abandoned the focus on strong female characters that characterized his earlier work.