Paul Thomas Anderson’s countercultural drama-thriller One Battle After Another, inspired by Thomas Pynchon’s novel Vineland, is a formal enigma that has perplexed, provoked and entranced, and the year ends with no definitive consensus as to its exact meaning. A rare naysayer is screenwriter and film-maker Paul Schrader, who commented tersely online: “Film-making at level A+, but try as I might I couldn’t muster up an ounce of empathy for Leo DiCaprio or Sean Penn. I kept waiting for them to die.”
But that’s why the film is gripping: there is indeed no empathy for its two unlovely leading males, and their mortality and vulnerability has a kind of unwinding, entropic energy. They are heading for disaster. And yes, the film-making is A+ or A++; it is supercharged with pleasure at its own audacity and expertise. It is moviemaking with a late-Kubrick elegance and a knowing theatricality, culminating in an exhilarating but also eerily strange car chase on an undulating freeway. This isn’t the same as style without substance, but it’s certainly a movie that can’t help but promote its self-aware style to equal status with its subject matter: a petty-tyrannical America of the present and future, and those who will grow old in resisting it from within.
