Get ready to have your heart stolen by Bradley Cooper’s latest cinematic masterpiece, where he takes on the quirky role of a man named Balls. But here’s where it gets controversial: Is this feel-good film just another crowd-pleaser, or does it dig deeper into the human condition? Let’s dive in.
In the 2025 Movie Club, film critic Dana Stevens and her colleagues—Justin Chang, Alison Willmore, and Bilge Ebiri—exchange insights on the year’s standout films. Justin’s recent letter to Alison sheds light on his unexpected adoration for Bradley Cooper’s Is This Thing On?, a film he initially screened in the isolating silence of a programmer’s room. Months later, at its premiere, he found himself falling for it all over again, captivated by its blend of humor, optimism, and Cooper’s evolving directorial prowess. And this is the part most people miss: Even with its lighthearted tone, the film tackles profound themes of love, self-care, and the idea that endings don’t always have to feel final.
Cooper’s portrayal of a character named Balls might seem like a gimmick, but it’s a testament to his ability to balance charm with depth. Justin draws parallels between Is This Thing On? and the Icelandic drama The Love That Remains, both of which explore flawed characters navigating the complexities of relationships. While The Love That Remains leans into surrealism and ambiguity, Cooper’s film offers a more reassuring take on human resilience.
Here’s a thought-provoking question: Can a film be both a crowd-pleaser and a meaningful exploration of life’s challenges? Justin argues that Is This Thing On? achieves this balance, serving as an upbeat antidote to the doomscrolling culture of today. But not all films fare as well in his critique. He takes aim at A House of Dynamite and The Voice of Hind Rajab, questioning their effectiveness in blending political commentary with entertainment. Bold claim: Perhaps the latter film would’ve been more powerful if it had stripped away its narrative gimmicks and simply let the victim’s voice speak for itself.
Shifting gears, Justin praises Philippe Lesage’s Who by Fire, a tense drama that dissects toxic masculinity and generational conflicts. He suggests pairing it with Richard Linklater’s Blue Moon for a double dose of artistic tension and emotional depth. Controversial interpretation: Could Lesage’s film be seen as a self-indictment of the filmmaking world’s ego-driven dynamics? Justin invites readers to weigh in.
What’s your take? Does Cooper’s film deserve its praise, or is it just another feel-good flick? And do political thrillers need to rethink their approach to storytelling? Let’s spark a conversation in the comments—agree, disagree, or add your own hot take!
