Get ready to fall in love with cinema all over again—because Bradley Cooper’s latest film is here to remind us why movies matter. But here’s where it gets controversial: in this charming crowd-pleaser, Cooper plays a character named Balls, and trust me, it’s not what you’re expecting. Let’s dive in.
In Slate’s annual Movie Club, film critic Dana Stevens and her colleagues—Justin Chang, Alison Willmore, and Bilge Ebiri—exchange insights on the year’s standout films. This year, Cooper’s Is This Thing On? takes center stage, and it’s a sweet, funny, and relentlessly optimistic ode to love, laughter, and self-care. And this is the part most people miss: even as Cooper casts himself as a character named Balls, he showcases his evolution into a graceful and astute director, building on the brilliance he displayed in Maestro.
I first saw Is This Thing On? in an empty screening room and was utterly charmed. But the real test came months later, when I rewatched it with an audience—and fell hard for it all over again. The film’s balance of grit and gloss, its witty performances by Will Arnett and Laura Dern, and its unfashionable conviction that endings don’t always have to be final make it a standout. Inspired by British comedian John Bishop, the movie feels like a refreshing antidote to the doomscrolling culture of ‘Am I the Asshole?’-style posts that dominate our feeds.
Cooper’s exploration of post-separation limbo reminded me of the Icelandic drama The Love That Remains, a film that similarly navigates the complexities of flawed characters with patience and depth. Both movies resist the urge to rush, allowing their characters—and audiences—the space to breathe and reflect. Bold claim: this approach is the opposite of what you’d find in a Josh Safdie or Mary Bronstein film, though I’d be fascinated to see their take on Is This Thing On?.
Speaking of bold, let’s talk about Marty Supreme. The film’s unbearable tension and its equally unbearable protagonist challenge the assumption that likable characters are a must for great cinema. Safdie’s direction feels like a table-tennis match, with every cut and pan amplifying the adrenaline. Thought-provoking question: does unbearable tension make for better storytelling, or is it the characters that truly matter? Let me know in the comments.
On the flip side, films like A House of Dynamite and The Voice of Hind Rajab left me questioning the political control-room thriller subgenre. While The Voice of Hind Rajab fearlessly confronts Israel’s atrocities in Gaza, its narrative choices sometimes feel at odds with its subject matter. Controversial take: a better version of the film might have forced us to sit with Hind Rajab’s voice alone, over a blank screen—unbearable, perhaps, but necessary.
Finally, Philippe Lesage’s Who by Fire is a masterclass in sustaining tension. A vacation-from-hell movie, it explores toxic masculinity and generational resentments with precision. Pair it with Richard Linklater’s Blue Moon for a double bill that’ll leave you thinking about love, rivalry, and the complexities of human relationships long after the credits roll.
So, what do you think? Is Cooper’s Is This Thing On? a game-changer, or just another feel-good flick? And where do you stand on unbearable characters in cinema? Let’s debate—I’m all ears.
