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Hollywood is yet again crowning one of its own as the “best movie of the year” while peddling a thinly veiled political sermon disguised as art, and hardworking Americans should not be fooled. Paul Thomas Anderson’s One Battle After Another is being fawned over by elite critics and awards whisperers, but when you peel back the veneer you find a message that lines up with the coastal left’s playbook rather than the values of everyday citizens.
Make no mistake about what this is: a lavish, high-budget studio production directed by Paul Thomas Anderson, starring Leonardo DiCaprio and a roster of marquee names, released in late September 2025 with every lucrative awards-season advantage. The gloss and the music and the prestige festival premieres are all designed to lend moral authority to a movie that is more agitprop than entertainment.
If you read the plot summaries and the breathless think pieces, the film centers on leftist militants, moral chaos, and an alternative-history America where revolutionary violence is framed as righteous resistance against a corrupt order. Critics on the left celebrate its symbolism and complexity, but the movie repeatedly tilts toward romanticizing political violence and portraying law-and-order institutions as irredeemably evil. That is not subtle social critique — it is a politicized narrative meant to normalize radical tactics and punish traditional authority.
Conservative commentators have rightly pushed back, calling out the film as woke propaganda and an apologia for radicalism instead of honest storytelling. Voices across the right have pointed out how the film’s sympathies fall predictably with anti-state militants and how Hollywood’s taste-making class is trying to hand the moral high ground to a worldview that despises the institutions that keep our communities safe. Give the elites their awards; plenty of Americans will see through the messaging.
This isn’t just about one movie — it’s about an industry that repeatedly uses taxpayer-subsidized platforms and award-season influence to promote a political agenda while lecturing the rest of the country. When filmmakers decide to trade storytelling for sermonizing, they lose the trust of ordinary moviegoers who want honest entertainment, not a classroom in cultural grievance. If Hollywood wants relevance, it should stop preaching and start making films that celebrate responsibility, family, and the freedoms that built this country.
The marketplace will ultimately tell the truth, and audiences can vote with their dollars and their attention; box office and viewer responses will be the real verdict, not the self-congratulatory awards dinners on the coasts. If Americans are tired of being lectured by actors and directors who live in echo chambers, now is the moment to demand better stories and to support filmmakers who put country and character ahead of ideology.
