If there’s one thing we certainly don’t need right now, it’s more movies and television shows that peddle a fictional version of reality tailored for the left—one that validates their worldview and, in the process, eggs them on to commit even more acts of violence than they’ve unleashed in the last couple of months.
Hollywood’s output feels less like entertainment and more like a Molotov cocktail lobbed at anyone who dares disagree. In just the last month alone, we’ve witnessed the assassination of Turning Point USA founder Charlie Kirk—a cold-blooded hit on September 10, 2025, that turned political discourse into a blood-soaked battlefield unlike anything we’ve seen before.
As I’m writing this review, the aftermath still simmers: a 22-year-old suspect, Tyler Robinson, gunned down Kirk during a speaking event at Utah Valley University in Orem, Utah, sparking nationwide vigils, FBI manhunts, and a firestorm of accusations about inflammatory rhetoric from the left.
Then, on September 24, a mass shooter targeted an ICE facility in Dallas, Texas, believing he was striking at federal agents. Instead, in a tragic irony, he slaughtered three immigrants—detainees waiting in a van for processing—before turning the gun on himself. Bullets etched with “ANTI-ICE” messages were found at the scene, and the shooter, Joshua Jahn, had scoured online for details on Kirk’s killing and DHS facilities in the days leading up.
This wasn’t random chaos; it was ideological poison manifesting in bullets. Hollywood absolutely has blood on its hands for helping brew this toxic stew. The industry thrives on twisting the left’s delusional fantasies into glossy fiction, handing progressive sycophants a mirror to gaze into and whisper, “This is real life.” They don’t just entertain; they indoctrinate, blurring lines until viewers can’t tell where the screen ends and the street begins.
And no better example exists than Warner Bros.’ latest fever dream, One Battle After Another, directed by Paul Thomas Anderson and released on September 26, 2025. This $175 million behemoth—starring Leonardo DiCaprio, Sean Penn, and Teyana Taylor—unfurls as a godless saga of far-left anarchy, loosely inspired by Thomas Pynchon’s Vineland. It’s less a movie and more a manifesto, disguised as an action thriller.
We follow the sordid exploits of “Ghetto” Pat Calhoun (DiCaprio) and Perfidia Beverly Hills (Taylor), two deluded foot soldiers in the far-left cult known as the French 75—a ragtag band of anarchists who kick off their reign of terror by storming a California immigrant detention center. They free “illegals” in a chaotic stunt that reeks of open-borders propaganda, complete with fiery speeches decrying borders as bigotry and law enforcement as oppression.
Perfidia, a venomous seductress, publicly shames the upright Capt. Steven Lockjaw (Penn), igniting his twisted obsession with her. As lovers entangled in carnal chaos, Pat and Perfidia unleash mayhem: torching politicians’ lairs, gutting banks, and blacking out the power grid, all in pursuit of their utopian delusion.
But things go south when a bank robbery gone wrong lands Beverly Hills in federal custody, forcing the rest of the team to flee until the heat dies down. Fast-forward sixteen years: In the lawless sanctuary cesspool of Baktan Cross—a stand-in for every border town’s worst nightmare—a shattered Bob (once Pat, now DiCaprio in grizzled, paranoid mode) wallows in addiction and xenophobic regret, shielding his teen daughter Willa from the very chaos his past spawned.
But his ghosts won’t stay buried. Captain Lockjaw, now armed with an invitation to the not-so-subtly named Christmas Adventurers Club—a cabal of white supremacists masquerading as a hunting lodge—uses his newfound power to hunt his interracial obsession under the guise of cracking down on immigration. Willa gets kidnapped, pulling Bob back into the fray for a reunion of ex-revolutionaries that devolves into car chases, shootouts, and philosophical rants about America’s “original sins.”
You hate ICE? This movie is for you. Do you loathe Donald Trump? This is your wet dream. Craving a flick where communist revolutionaries revolt against the United States, slaughtering political enemies in a blaze of glory? Then One Battle After Another will be your favorite propaganda piece of 2025.
There’s an old saying I like to trot out: Once is a coincidence, twice is a pattern, three times it’s an agenda. There’s zero coincidence in this film’s release timing, hot on the heels of Kirk’s assassination and the Dallas ICE bloodbath. The left’s deadly obsession with ICE is spiking—protests turning violent, assaults on agents up over 1,000%—and here comes Warner Bros., dropping a blockbuster that romanticizes exactly that rage.
But because it’s crafted by leftists, they don’t see themselves as terrorists; they cast themselves as the Marvel superheroes, caped crusaders toppling “fascists.” Dumb and delusional has proven a deadly combo these past weeks, fueling everything from rooftop snipers to etched ammo casings. Emotional disconnection plagues Hollywood films because they deliberately erase the lines between good and evil, force-feeding us moral relativism.
One Battle After Another demands you sympathize with far-left terrorists—mere weeks after Kirk’s murder—to feel any pulse in the story. You’re either with the crowds celebrating his death on social media (prompting mass firings and doxxing sprees) or mourning it alongside his widow, Erika, who vowed to carry on Turning Point USA’s fight. This film purposely blurs fiction and reality so thoroughly that it’s impossible not to spot the agenda: an ideology that wants you dead if you don’t kneel.
No sugarcoating it—the message screams that borders are evil, cops are villains, and revolution is righteous. Hollywood loves crying “satire” to dodge accountability. Get called out for stoking political or religious hate against one side of the aisle? They scamper to the satire hill, insisting it’s all in jest. Case in point: This movie postures as a “satirical” take on America—exaggerated, they claim, not to be taken seriously. Yet it turns around and insists it’s a “perfect mirror” of our fractured world, with Lockjaw’s club echoing real far-right fringes and the French 75 channeling antifa wet dreams.
So if the left laps this up as inspiration, viewing it not as fiction but as a blueprint for “justice,” what’s the only conclusion? Nefarious motives, plain and simple. We know the politics of Hollywood’s elite, the actors in the creative trust behind this (DiCaprio’s eco-lectures, Penn’s Castro bromance, Taylor’s activist feeds), and the message they’re peddling. Pretending otherwise is willful blindness.
Sandwiched between this revolutionary propaganda—masquerading as entertainment—is an ongoing love triangle between DiCaprio, Penn, and Taylor that tries for steamy tension but lands as forced filler. The real problem? It’s a heel-turn program: no heroes, just dirtbags.
Everyone’s morally bankrupt—revolutionaries as addicts, cops as bigots—leaving audiences adrift in cynicism. On one hand, One Battle After Another is a well-shot movie, with Anderson’s VistaVision flair and IMAX spectacle making the chases pop. You almost wish there was a better story justifying the craft. But the narrative is disjointed; none of the acts mesh, jumping from heist frenzy to daddy-daughter redemption without symmetry.
At day’s end, you’re left with a film celebrating left-wing terrorism at a moment when such acts are hitting record highs in America—Kirk’s sniper, Dallas’s detainees, assaults on border agents. Connect the dots: A blockbuster glorifying anti-ICE anarchy drops amid real assassinations and shootings. Hollywood’s fingerprints are everywhere, from the script’s open-borders screeds to the stars’ real-life activism.
This isn’t art; it’s accelerant on a powder keg. If it inspires one more “hero” to etch “ANTI-ICE” on a bullet, the blood’s on their hands too. We deserve better than this agenda-driven dreck—stories that unite, not divide and destroy.
1.5/5
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