The Finest Comic Actor Working Today Is Leonardo DiCaprio

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Leonardo DiCaprio has been in five films recently that were all nominated for the Best Picture Oscar, and it looks very likely that Paul Thomas Anderson’s One Battle After Another will continue that streak when nominations come out early next year. This is partly due to DiCaprio’s status in Hollywood: he’s one of the few remaining true movie stars, an actor who can practically guarantee a major film gets made with a substantial budget. That’s why acclaimed directors like Anderson, Quentin Tarantino, and Martin Scorsese consistently choose to work with him (though, of course, the main reason is that he’s a remarkably talented actor). However, there’s another factor at play – a shift in DiCaprio’s acting style over time. In the last ten years or so, he’s quietly become one of our best comedic actors.

It’s ironic, really, because this has happened at the same time that traditional comedies have largely disappeared from American movie theaters. Out of all the films DiCaprio has starred in recently, only Adam McKay’s Don’t Look Up can truly be considered a comedy (and it’s also a thought-provoking and relevant satire), though it did debut on Netflix. One Battle After Another, Once Upon a Time in Hollywood, and The Wolf of Wall Street all contain humorous moments, but they wouldn’t have been categorized as comedies in the video store era. Even so, DiCaprio’s funny performance is what really makes these films work.

One Battle After Another really showcases this idea. The film feels almost like a collection of stories, each highlighting different characters. For example, we see Teyana Taylor as a strong, armed leader in the first part, and Benicio Del Toro as the calm and clever Sensei Sergio St. Carlos in the second. While DiCaprio plays “Bob Ferguson” as the main character, he often feels like an observer. When he was younger and part of the underground group French 75 (known then as “Pat”), he was good with explosives, but mostly seemed to enjoy being involved. DiCaprio subtly emphasizes the somewhat silly side of his character’s passion for revolution – pay attention to his quick, cheerful foot shuffle before jumping into a getaway car, immediately after yelling, “Viva la revolución!” He’s a bit of a goofball, and DiCaprio portrays him that way. Later in the film, he’s completely clumsy, but in a charming way, his mind dulled by years of drugs, alcohol, TV, and worrying about his children.

Even early in his career, DiCaprio had a naturally awkward and gangly presence, but this was quickly overshadowed by his success as a romantic lead in movies like Romeo + Juliet and Titanic. Now that he’s reached middle age, he’s able to use that same awkwardness for comedic effect. We saw this in The Wolf of Wall Street, particularly in the wild, drug-fueled party scenes, and especially in the now-famous scene where he struggles to move after taking quaaludes while trying to get to his Lamborghini. That same endearing clumsiness is present when DiCaprio throws himself on the floor and crawls around in One Battle After Another, and it’s the same body that’s eager to join Sensei Sergio’s group of skateboarding punks, but can only awkwardly shuffle across rooftops before falling and getting tased. (The fact that Anderson and DiCaprio can make this moment both shocking and funny highlights the film’s skillful blend of tones.)

What makes DiCaprio a compelling actor is his ability to fully commit to a role. While he can be understated, his true talent lies in larger, more expressive performances. Similar to Tom Cruise, he’s always had a youthful eagerness about him, and that hasn’t really faded. In fact, he seems to have leaned into it. DiCaprio’s characters are commanding and energetic; when they raise their voices, it’s a sharp, insistent sound that suggests they feel entitled and self-centered. This makes him a perfect contrast to the character of Sensei Sergio in One Battle After Another: In a particularly striking scene, we see Sergio calmly and kindly guiding the dozens of undocumented immigrants hidden in his building into tunnels to avoid the police. Meanwhile, Bob is preoccupied with charging his phone and trying to recall old passwords, always displaying a frustrated and familiar “Let me speak to your manager” attitude. (Spoiler: He eventually does get to speak to the manager, gets what he wants, and is predictably arrogant about it.)

Over the past ten years or so, a noticeable sense of irony has emerged in DiCaprio’s acting. Because he’s moved beyond roles as romantic leads and traditional heroes, he can now vary his performances and create interesting contrasts with other actors. In Django Unchained, he portrays a deliberately exaggerated and unpleasant figure representing the wealth of the pre-Civil War South. In The Wolf of Wall Street, he’s loud and animalistic, a ridiculous leader encouraging his followers. And in Once Upon a Time in Hollywood, he plays a self-centered celebrity whose inflated ego quickly gives way to anxiety. DiCaprio excels at playing characters who are completely focused on themselves, seemingly unaware of anyone else. What’s enjoyable about One Battle After Another is how that energy, even amidst the disorder, is channeled into finding his missing daughter. This time, his self-absorption is funny, but it also feels surprisingly familiar. We find ourselves laughing at him, but also recognizing a bit of ourselves in his behavior.

My colleague Alison Willmore called Bob Ferguson “another fine contribution to the loser era DiCaprio has dedicated himself to lately,” and many others agree. DiCaprio’s recent roles often blend his ‘loser’ and comedic phases, but it’s important to point out when those aren’t the same. In Killers of the Flower Moon, his Ernest Burkhart begins as a sad, somewhat clueless World War One veteran, willing to do anything for his powerful uncle (Robert De Niro), and he maintains a certain charm despite his naiveté. DiCaprio is genuinely funny at the start of the film, though his performance loses some impact later on, as his exaggerated expressions don’t quite fit the quiet intensity of Scorsese’s direction. Conversely, in Don’t Look Up, his character, Dr. Randall Mindy, is a slightly overweight, anxious, and unassuming astronomer who often serves as the voice of reason amidst the chaos. DiCaprio is perfectly good in the movie and has a few memorable moments, but it feels like his comedic skills aren’t fully used in that film.

Last year, screenwriter Drew Pearce shared his thoughts on what makes modern leading men truly stand out: “They reach their peak when they embrace being a little silly,” he explained. This happens when the actor stops trying to appear cool and instead radiates self-assurance – which then allows them to be more eccentric, humorous, and, as Pearce put it, to playfully challenge and experiment with their fame. Pearce initially discussed this in relation to Ryan Gosling in films like The Nice Guys, but he also cited Paul Newman in Cool Hand Luke and Butch Cassidy and the Sundance Kid as examples. This idea also holds true for DiCaprio, although it took him some time to reach this point. He was already a talented actor in numerous successful films, and he sometimes hinted at his celebrity status (like in Celebrity), but his on-screen presence became even richer as he got older and allowed himself to be seen as odd, funny, and emotionally open.

It really makes you wonder what this actor will do next, right? I’m hoping we get more films directed by Scorsese, and I’ve heard whispers about him potentially being in Michael Mann’s Heat 2. Honestly, anyone with a serious movie project and a decent budget is probably already trying to get him on board. But you know what? I’d *love* to see him tackle a straight-up comedy. He could honestly revitalize that genre all by himself. A while back, DiCaprio might have considered something like that beneath him, and he’d have been justified in thinking so. But now? He’d be absolutely perfect for it. Plus, as One Battle After Another shows us, things are so crazy right now that we *need* some good, absurd comedy.

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2025-10-02 21:55