ワン・バトル・アフター・アナザー
監督:Paul Thomas Anderson元革命家の頼りない中年男ボブ。彼はさらわれた愛娘を取り戻すため、かつての仲間や謎めいた空手のセンセイの助けを借りながら、恐ろしい軍人ロックジョーに立ち向かっていく。
ワン・バトル・アフター・アナザーの評価とレビュー
- Tom Bennett3日前Yeah PTA really nailed this one. It felt so authentic I sometimes almost thought I was watching a documentary save the excellent sound track. Leonardo was actually really good but the true surprise for me was Sean Penn who leaned way in to a difficult character. Stunning scenes and camera work with a tight script that went places I never anticipated - this one deserves the awards it got. Definitely recommend.
- Zhorax3日前Good, but not their best work
- Kenneth Boström3日前*Paul Thomas Anderson turns modern America into a beautiful, paranoid fever dream.* There’s a certain kind of film that feels less like watching a story and more like being dropped into someone else’s nervous system. The conversations overlap. People interrupt each other halfway through thoughts. Someone starts laughing at exactly the wrong moment. Violence arrives suddenly, almost casually, then disappears before you’ve fully processed it. Half the characters seem spiritually exhausted, the other half dangerously awake. _One Battle After Another_ gave me that feeling. Not confusion exactly. More like controlled disorientation. The sensation of walking through a city late at night when you’re slightly too tired and everything begins to feel strangely cinematic: neon reflecting in puddles, distant sirens blending into music, ordinary faces suddenly carrying enormous emotional weight. That’s the atmosphere Paul Thomas Anderson creates here. And almost nobody alive directs atmosphere better. ## Bodies in Motion One thing I kept thinking about while watching the film is how physical PTA’s movies are. Not “physical” in the action-movie sense. Physical in the way people occupy space. The way they walk into rooms. Sit down too hard. Pause before answering. Look away during conversations. Collapse into furniture like they haven’t slept in days. PTA understands something many directors don’t: human movement is narrative. That’s why the performances here work so beautifully. Leonardo DiCaprio gives one of those performances that feels permanently unstable, as if his character is improvising himself moment to moment just to survive the next conversation. There’s a nervous electricity to him throughout the film, like someone trying to outrun a panic attack using charm and momentum. Then there’s Benicio del Toro, who somehow does the opposite. He slows the movie down whenever he appears. While everyone else feels frantic and combustible, Del Toro moves through scenes with this heavy, almost dreamlike calm. And Sean Penn — my god. Even the way he walks tells a story. It’s one of those deeply physical late-career performances where an actor no longer seems concerned with looking impressive or charismatic. He just inhabits the character completely. Every movement feels exhausted, dangerous, slightly decayed. You could probably mute the film entirely and still understand who his character is. And I absolutely have to mention Regina Hall, who gives the movie some of its most human moments. In a film full of paranoia, ego, masculine collapse, and emotional noise, she brings warmth and emotional intelligence without ever simplifying the material. Her presence feels grounding — like the only person in the room fully aware of how absurd everyone else has become. ## The Beauty of Paranoia Visually, the film is extraordinary. Not in the overly polished way many modern prestige films are extraordinary. Nothing here feels sterile. PTA shoots faces, empty rooms, highways, cheap interiors, late-night streets, and fragments of conversation with the same obsessive attention. The movie constantly drifts between beauty and unease. Even the quiet scenes feel like something might rupture underneath them. I kept thinking about 1970s American cinema while watching it. Not because PTA imitates that era — he’s long moved beyond simple homage — but because the film has that same loose, searching energy. Movies used to feel allowed to wander. To breathe. To become strange for a few minutes. PTA still trusts audiences enough to do that. There are scenes in _One Battle After Another_ that seem to operate almost entirely on rhythm and mood rather than information. Conversations spiral sideways. Characters disappear and reappear emotionally transformed. Entire sequences feel suspended between comedy and dread. And somehow it all works. Not mechanically. Emotionally. ## The Human Thing Underneath What finally separates PTA from many technically brilliant directors is compassion. Underneath all the virtuosity — the camera movements, the layered sound design, the chaos, the visual precision — there’s always deep empathy for damaged people. His characters are often lonely men searching for meaning inside systems they barely understand: capitalism, religion, masculinity, politics, desire, America itself. But PTA never looks down on them. Even at their most pathetic, he films them with tenderness. That’s what I felt most strongly here. Beneath the paranoia and absurdity, _One Battle After Another_ is filled with people desperately trying to connect with each other while trapped inside emotional worlds they no longer fully control. The film understands how exhausting modern life can feel — how people perform confidence while quietly unraveling underneath. And yet the movie never becomes cynical. There’s too much warmth in it for that. ## Final Thoughts At this point, it feels unnecessary to debate whether Paul Thomas Anderson belongs among the great American directors. He does. Not just because of the technical mastery, though there’s plenty of that here. Not just because of the performances, which are phenomenal across the board. But because his films feel alive in a way very few modern films do. Messy. Funny. Nervous. Tender. Overstimulated. Melancholic. Human. _One Battle After Another_ feels like a fever dream about modern America directed by someone who still believes cinema can capture the full chaos of being alive. ## A Note on the Backlash One thing that has fascinated me after watching _One Battle After Another_ is the reaction surrounding it. Some viewers have accused the film of sexualizing women or reproducing racial stereotypes. I understand where some of that discomfort comes from — PTA has never been a “safe” filmmaker, and his movies are often interested in desire, power, ego, masculinity, performance, and human ugliness in ways that can feel messy or provocative. But I also think there’s a growing tendency to confuse depiction with endorsement. This film sexualizes almost everyone. The most sexualized presence in the movie might be Sean Penn. If you missed out on that go view the beginning of the movie again. PTA films people as bodies moving through space — desirable, pathetic, dangerous, vulnerable, ridiculous. That gaze isn’t limited to women here. And beyond that, art has always explored sexuality because sexuality is inseparable from being human. Cinema without desire, attraction, vanity, lust, projection, fantasy, or physical presence would become emotionally sterile very quickly. Not every portrayal of sexuality needs to function as moral instruction. The same applies to the racial criticism surrounding the film. I fundamentally reject the idea that artists should only portray people who perfectly match their own identity category. If taken seriously, that logic would collapse much of art itself. Great filmmaking has always depended on imagination, empathy, observation, and the willingness to enter lives unlike your own. I would absolutely welcome more cultural crossing, not less. I’d love to see white directors make films deeply engaged with Black life if they approach it seriously and humanely. I’d love to see Black directors reinterpret traditionally “white” American stories. The entire history of cinema is built on artists learning from, responding to, borrowing from, and transforming each other’s worlds. What matters is not identity purity. What matters is whether the work feels alive, observant, emotionally truthful, and human. And whatever else people think about _One Battle After Another_, it undeniably feels human.
- Ray Hopkin6日前Wow, yet again, an absolute masterpiece by PTA. He really is one of the greatest directors ever, every one of his movies is a classic. DiCaprio, Penn, Del Toro, Infiniti, all perfect casting. Just such a well told story, and such a confident comment on today's society with the rise of the far right and the options that the left feel they need to make to stop the far right. Yet again, PTA creates a movie with great characters with deep motivations, who, through dark humour and intertwining storylines, find themselves fighting elements that are out of their control. Highly recommended.
- Dom0208762025年11月15日What the hell did I just watch?
- thomasrogers7532025年9月27日PTA might actually be one of the greatest directors of our time I also loved Leo and Del Toro
- Magnus Parde2025年11月16日"One Battle After Another" is less a movie and more a chaotic descent into tasteless indulgence. From the opening scene, it’s clear the director was preoccupied with titillation over storytelling. The film plays out like a bizarre mashup of a 1970s disaster flick—except instead of tension or drama, we’re treated to a parade of gratuitous encounters that feel wildly out of place. Imagine an airplane spiraling toward doom while the passengers are inexplicably more interested in hooking up than surviving. That’s the tone. And it’s exhausting. The script is incoherent, the pacing erratic, and the characters are caricatures of bad decisions. There’s no emotional core, no thematic depth—just a relentless barrage of scenes that seem designed to provoke rather than entertain. It’s not edgy. It’s just lazy. Worse still, this film feels emblematic of a broader decline in Hollywood’s creative standards. If this is what the industry is banking on, it’s no wonder audiences are turning away. Substance is being replaced by shock value, and the result is a product that caters to the lowest common denominator. If trends like this continue, the only viewers left will be those who’ve given up on cinema as an art form. Avoid at all costs. This isn’t a battle worth fighting.
- Graham6日前Last 30 minutes were good, otherwise.. meh
- Angel2025年12月23日After watching this movie, I am starting to understand that Europe and the USA have become completely different worlds. I had the chance to get to know an American for a while two months ago, and I've already got a hint of the same dissonance. The music, the actors, the shots, a masterpiece, but regarding the script, for some reason, I always have the same feeling. Like if I am watching a documentary about an alien civilization in despair about to collapse, that doesn't have anything to do with my reality in Europe. Don't get me wrong, we are about to collapse too, but for completely different reasons xD. A background of total disconnection about what is happening in the movie, and what I believe is true because of my context. I can't imagine this happening, that's the problem. But a bigger problem is if this can be in the imaginarium of somebody else. I wonder if there would be a point where the content from America just connects with Americans, specifically from just one side, because the other side doesn't control the narrative in cinemas. Currently, it does not connect with me anymore. I suppose if I live there, and I vote democrats this is a full masterpiece, but I remember with sadness and melancholy when Hollywood was the fabric of dreams with no sides, now it is just another tool for propaganda. I kinda understand why the youngsters don't get it, you need to go back more than 20 years to find dreams instead of advertisement in cinemas. Many kids tell me they didn't watch The Lord of the Rings ever, so ask them if they know about Back to the Future or Indiana Jones is pointless most of the time, they will never understand what a movie was at that time for your imagination, for your growth, for your hopes and beliefs. Now you are just injected with hatred, revenge and pain.
- shadow58812026年5月3日Pretty bad movie.
- Austin Burke2025年10月24日One Battle is enthralling, delivering a relentless and action-fueled experience that never lets up until the final frame. Every performance is fantastic, while Penn’s Lockjaw steals his moments through sheer menace. The film is occasionally frightening but maintains balance with a wickedly comedic edge, especially with Leo, who is reveling in his role’s unhinged charm. It exudes chaotic and politically-charged energy but never lets its father/daughter story get lost along the way…
- Rob Logan | The Geek Generation2026年5月2日I liked a lot of individual moments in this more than the whole of it. The performances were good, but I hated most of the characters outside of Willa and the Sensei. I couldn’t have cared less what happened to Bob or Lockjaw, so I wasn’t really invested in many aspects of the story, which in itself was overly dragged out to an unnecessary length. That being said, it was shot incredibly well, so I’ll give it that.
- Jean Sean2026年5月2日Teyana Taylor is a terrible actress and if they completely omitted her from the movie and instead had ppl recalling the actions of her character through dialogue, nothing in this film would've been lost and likely would've improved the film drastically. It felt like she was acting in a tyler perry movie while serious actors around her were doing their absolute best. Benicio Del Toro was fantastic, Regina Hall was incredible. Some cool concepts in the film but overall was not the masterpiece for me that everyone claimed it was. I wouldn't even say it was award worthy but everyone loves to gobble PTA.
- eriklangen2026年4月26日Leonardo DiCaprio is a paranoid stoner dad whose biggest enemy is his own memory.
- DC2026年4月18日Good film worth your time.
ワン・バトル・アフター・アナザーを視聴
ワン・バトル・アフター・アナザーに関するトリビア
ワン・バトル・アフター・アナザーは2025年9月24日に公開されました。
ワン・バトル・アフター・アナザーはPaul Thomas Andersonが監督を務めました。
ワン・バトル・アフター・アナザーの上映時間は2h 41mです。
ワン・バトル・アフター・アナザーはAdam Somner, Sara Murphy, Paul Thomas Anderson, Liam Briscoeがプロデューサーを務めました。
元革命家の頼りない中年男ボブ。彼はさらわれた愛娘を取り戻すため、かつての仲間や謎めいた空手のセンセイの助けを借りながら、恐ろしい軍人ロックジョーに立ち向かっていく。
ワン・バトル・アフター・アナザーの主要人物はBob (Leonardo DiCaprio), Col. Steven J. Lockjaw (Sean Penn), Willa (Chase Infiniti)です。
ワン・バトル・アフター・アナザーはPG12と評価されています。
ワン・バトル・アフター・アナザーは犯罪, ドラマ, スリラー映画です。
ワン・バトル・アフター・アナザーは、視聴者によって10点満点中8.5点をつけられています。
ワン・バトル・アフター・アナザーの予算は$1.8億です。
ワン・バトル・アフター・アナザーの興行収入は$2.1億です。