One battle after another, with Leonardo DiCaprio, is the best movie of the year

From the first few minutes, one battle after another defines the pace it will deliver in all its duration. The feature film that arrives on Thursday (25) to theaters, directed by Paul Thomas Anderson and starring Leonardo DiCaprio, is a real mix of chaos, action and frenzy, and emerges as one of the best films of the year, without much margin for discussion.

It may seem exaggeration to those who haven’t watched yet, but I can guarantee that the movie is, yes, all. Anderson delivers a visceral and inflamed story about revolution, while putting the viewer in front of a work that, in itself, can define a whole society.

Synopsis

One battle after another follows Bob (Leonardo DiCaprio) and Perfidia (Teyana Taylor), a pair of revolutionaries who engages in a series of US attacks, releasing detained immigrants and hellishing the life of a militarized government that is focused on promoting the good of elites and perpetuating their people in power.

After his golden years on the front line of the French 75 organization, Bob tries to lead a quiet life alongside his daughter Willa (Chase Infiniti) until he is forced to face the return of his former enemy, Colonel Steven J. Lockjaw (Sean Penn), which threatens everything that built. With this, Bob departs on a frantic mission, facing the past, dangers and persecution as he runs against time to save those who love.

Surrounding rhythm, even with long duration

With 2h50 long, one battle after another could easily weigh on the public, but the agile rhythm of the script and the energy of the performances make the movie walk without turning a burden to the viewer. It would be an exaggeration to say that you can’t see the time pass (because it gives), but every second of the feature is worth it, without production having a moment of tiredness.

Anderson, who also drives also signs the script, delivers a breathtaking work here, which does not allow distractions and keeps the viewer immersed until the last moment, with an original, engaging and intense narrative.

The cast, even, has great responsibility for this success and reinforces the power of the narrative. Leonardo Dicaprio takes protagonism in one of his best recent works, while names like Teyana Taylor, Sean Penn, Benício Del Toro and rookie Chase Infiniti add weight to history with high quality performances.

The director conducts the camera accurately and explores different cinematic techniques that contribute every detail of the performances, allowing actors to transit among contrasting emotions without losing the narrative thread.

It is genius, and paradoxical at a certain point, like each technical element – whether in the direction, acting, soundtrack or routy – can favor each other. It is almost a perfect cinematic ecosystem.

Unexpectedly, a comedy

Amazingly, with his intense proposal and frantic rhythm, one battle after another is one comedy, and the highest quality. Here, Anderson uses and abuses an enviable timing that catches the viewer in times of discomfort or unexpected conclusions that constantly rip out laughs.

DiCaprio, in particular, stands out in a sequence of the second act, in a scene of persecution that can be tense, chaotic and hilarious in the same intensity. The viewer holds on the chair with the apprehension, as he laughs at Bob Ferguson’s clutters.

Teyanna Taylor and Sean Penn do not escape the rule either. When analyzed, their characters carry deep and dense elements, but end up starring the most absurd and unexpected scenes of the plot.

It is also worth the member of the Latin Sensei starring Benicio Del Toro, who, as the story advances, gains more outlines and unexpected layers in depth – besides being, by far, the most competent revolutionary of the film.

More than a comedy, Paul Thomas Anderson’s work is an extremely well -positioned satire of the world we live in today. The film criticizes the great leaders, the motivations of the Armed Forces, the corporations that aim only at the well-being of the highest classes and government authoritarianism; wide the veiled movements of the white elite; exalts the power of the people; It promotes a raw look at immigration, and all this without losing the narrative thread.

Highlight of the year

The narrative does not make room for long breaks, which guarantees an almost uninterrupted rhythm. This aspect becomes even more remarkable compared to other long -term epics starring DiCaprio, such as the Moon Killer. While Scorsese’s film opts for a more contemplative progress, Anderson prefers urgency, constant movement and feeling something is always about to explode (and sometimes it really is).

These elements are strongly accentuated by the soundtrack composed by Jonny Greenwood, the director’s frequent contributor. The music intensifies the scenes, creating atmospheres of tension and relief at the exact moments, using the instruments to follow the pace, while it works as an engine that drives the story forward.

With this set, one battle after another emerges as one of the recent highlights of Anderson’s filmography and stands alongside sinners as the best films of the year. It would not be a surprise if the work finally guaranteed the director a recognition that has escaped him for years.

One battle after another arrives on Thursday, September 25, in theaters.

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