One Battle After Another review: Leonardo DiCaprio shines in the best film of the year

The film is based – at least loosely – on the 1990 novel Vineland by reclusive literary giant Thomas Pynchon, whose work Inherent Vice Anderson previously adapted into one of his more divisive efforts in 2014. But whereas that earlier instance was more or less a straight-forward case of adaptation, book readers hoping for a direct page-to-screen translation here should adjust their expectations.

Perhaps that's no surprise. The freewheeling nature of Pynchon's tome, which frequently jumps around at odd and sometimes lengthy tangents, has regularly seen it labelled unadaptable. And so instead, Anderson expertly borrows certain elements – a character detail here, a plot development there – and crafts them into something uniquely his own, transposing events into the modern day in the process.

In doing so, he very much keeps the rebellious spirit, absurdist comic tone and thematic weight of Pynchon's work in tact, with both book and film sharing a disgust of militarised authoritarian figures and dismay at some of the more nonsensical nuances of living in a world which seems to be collapsing around us. He also wisely puts front and centre a touching father/daughter relationship, giving his film an undeniable emotional heft.

The father in question is Leonardo DiCaprio's Bob Ferguson, who we are first introduced to as a fearless young revolutionary – a key part of a rebel movement known as the French 75 – during the film's explosive opening section. At that point, he is romantically involved with a feisty fellow revolutionary named Perfidia Beverly Hills (a scene-stealing Teyana Taylor), whose passion and unpredictability is both a strength to the cause and ultimately a contributing factor in her own downfall.

Fast forward 16 years, and Bob is now living life in a paranoid, complacent funk, completely sapped of his revolutionary spirit. He watches old movies, smokes copious quantities of dope and largely fails in his duties as single-father to teenage daughter Willa (Chase Infiniti, a revelation), who appears to have inherited some of her mother's spunkiness.

But when the French 75's old nemesis Colonel Steven J Lockjaw (Sean Penn) suddenly re-emerges onto the scene, Willa firmly in his sights, Bob is called back into action, relying on allies old and new to protect his daughter and rediscover the revolutionary fire in his belly.

The resulting chase is equal parts thrilling and uproarious, zipping by at a perfect pace that makes the film feel considerably shorter than it's near three-hour runtime. Bob's hapless attempts to readjust to old French 75 ways of working provide the film with some of its biggest laughs – DiCaprio pitch-perfect in his portrayal of a frustrated layabout thrust back into the fold – while a sinister, evil organisation named The Christmas Adventurers Club is the stuff of satirical genius.

Across the board, the performances are sensational. Penn, in particular, is extraordinary as one of the most odious characters ever put to screen, a snivelling and pathetic weasel driven as much by lust, insecurity and personal vendetta as his belief in the evil white supremacist ideology he subscribes to. It’s a disturbing physical performance that surely positions him as a major contender come awards season.

Given his general mastery, it's no surprise that Anderson also proves his credentials as a first-rate director of action – staging the film's myriad set pieces in unpredictable and inventive ways, never more so than in an astoundingly realised car chase in the final act. Meanwhile, Johnny Greenwood's frantic, piano-led score is the perfect complement.

Crucially, One Battle After Another is also a film that feels urgent and timely. Although Anderson started writing the script 20 years ago – and certain details would surely strike a chord at any time – the film's handling of issues from police violence and the barbaric treatment of immigrants to the growing prevalence of extremist ideologies amongst people with influence feels especially relevant in the current moment.

But there's hope and poignancy here, too. It's a film that acknowledges the vital importance of community and the revitalising power of genuine, heartfelt human connection, especially in a world that sometimes seems designed to undermine those things. It is – without a shadow of a doubt – the film of the year so far.

One Battle After Another is released in UK cinemas on Friday 26th September.

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