One Battle After Another (2025) | REVIEW

Leonardo DiCaprio trying to figure out a rendezvous location over a payphone call in ONE BATTLE AFTER ANOTHER — PHOTO: Warner Bros. Pictures (Still image from trailers).

Directed by Paul Thomas Anderson (Phantom Thread) — Screenplay by Paul Thomas Anderson.

One of the most anticipated major auteur works of 2025 has been released. Inspired by Thomas Pynchon’s postmodern 1990 novel Vineland, One Battle After Another marks the 10th narrative feature from writer-director Paul Thomas Anderson (often abbreviated as PTA) and the first team-up with the renowned and immensely popular thespian Leonardo DiCaprio. The film follows Bob Ferguson (played by Leonardo DiCaprio), a paranoid ex-revolutionary, who has gone into hiding from the government to protect his now-teenaged daughter, Willa (played by Chase Infiniti), who has yet to fully understand what he and her mother went through when they quarreled with the government during their time as prominent members of the far-left revolutionary group the French 75, who, among other things, broke out detained immigrants from militarized detention centers. However, on the day of a school dance, it becomes clear that the government — personified by Colonel Steven Lockjaw (played by Sean Penn), who has personal reasons for seeking out Bob and Willa — has finally found them. When Lockjaw and the military’s presence becomes known, Bob goes in pursuit of his daughter, with the hope of getting to her before Lockjaw can, but he needs the assistance of the cool-headed local community leader, Sergio St. Carlos (played by Benicio Del Toro), if he is to have any chance of navigating both the chaos around him and the paranoia inside of him, as well as getting to his daughter before it’s too late. 

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Captain America: Brave New World (2025) | REVIEW

Red Hulk (Harrison Ford) hulking out in CAPTAIN AMERICA: BRAVE NEW WORLD — PHOTO: Walt Disney Studios Motion Pictures.

Directed by Julius Onah — Screenplay by Rob Edwards, Malcolm Spellman, Dalan Musson, Julius Onah, and Peter Glanz.

Despite the huge success of Deadpool & Wolverine last year, the Marvel Cinematic Universe is in an unsteady moment currently due to an inundation of Disney+ series, and several rushed and poorly received films. In the post-Avengers: Endgame era, Marvel Studios still needs to get back on track, and, unfortunately, Captain America: Brave New World isn’t the film to do that. Though it’s not the worst film in the connected universe of films, I believe that it is, however, a lower-tier MCU film that feels messy, tinkered with, and sometimes even soulless. This is despite the fact that certain elements and scenes are quite satisfying. Although Marvel die-hards will probably still have a decent-enough time with it, but outside of the massive Red Hulk sequence teased in the marketing, the film arguably fails to justify its existence on the big screen. 

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REVIEW: The Report (2019)

Release Poster – Amazon Studios

The following is a review of The Torture Report — Directed by Scott Z. Burns.

While Netflix is enjoying another moment in the sun with the release of Martin Scorsese’s latest masterpiece, The Irishman, which is streaming exclusively on Netflix, Amazon Studios has quietly released The Report to Prime Video. The lack of awareness that The Report is getting is reminding me of a quote in the film itself: “you have a sunlight problem.” Though The Report isn’t the most notable or, frankly, the best film released on streaming services this week, Scott Z. Burns’ film is genuinely gripping thanks, in large part, to a strong central performance from Adam Driver that elevates the otherwise potentially dramatically listless material. Continue reading “REVIEW: The Report (2019)”