Incontrovertibly, the loudest word reverberating out of Paul Thomas Anderson’s imposing crime saga and instant awards season juggernaut, One Battle After Another, is “revolution.” When an ambitious movie, no matter the subgenre, invokes that term as its core for conflict, it sets out to establish a setting and context of corruption while positioning a potentially dramatic and dangerous chessboard of characters prepared to take risks and fight against their marked opposition.
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