Is This Thing On? – Cooper and Arnett Shine In A Clever Dramedy

Every generation seems to produce a major A-list movie star whose ambitions extend beyond acting, eventually leading to an equally successful career in the director’s chair. Clint Eastwood, Robert Redford, Warren Beatty, George Clooney, and Ben Affleck all exemplify this. Bradley Cooper appears to be the latest to follow this path, having already crafted two ambitious directorial efforts in A Star Is Born and Maestro, both of which showcased his growing confidence and skill behind the camera. While each film performed strongly with the Academy in terms of nominations, Cooper remains Oscar-less, with twelve nominations across multiple categories and no wins. It is increasingly apparent that this is something he is eager to correct.

However, his latest effort was met with skepticism by some critics, essentially dismissing it as overly self-conscious “Oscar bait,” accusing Cooper of trying too hard to court the Academy’s approval. Following the arguably unfair backlash that it received, the director dramatically shifts gears with his third feature, ‘Is This Thing On?’ Rather than another sweeping prestige drama driven by towering performances and spanning decades, Cooper, instead, trades that grand scope for something far smaller, looser, and more immediate. For those who have questioned his versatility as a filmmaker, this offers a clear rebuttal to that narrative.

While the film is not as technically showy or as demanding an undertaking as his previous efforts, Cooper distills his recurring fascination with creatives finding solace through art into something far more relatable and grounded. Instead of filtering this theme through the life of a celebrated artistic genius, Is This Thing On? approaches it through the perspective of the everyday man, someone not especially gifted at stand-up comedy, but who discovers it as a means of connection, self-expression, and personal reinvention following a separation from his wife.

Arnett, best known for broad comedy and voice work, has never truly been given the opportunity to showcase his dramatic talents in a live-action setting. However, through his popular podcast and his work on BoJack Horseman, he has long demonstrated real emotional depth and insight, making it gratifying to finally see him tap into that potential as a live-action performer. While Arnett does get moments to exercise his comedic instincts here, they are delivered in a far more restrained, low-key manner than what audiences may expect, starring as Alex Novak. Primarily a dramatic role, Arnett approaches it with remarkable sincerity, resulting in one of the most impressive performances of the year. Meanwhile, Dern is equally strong opposite him as Alex’s wife Tess, sharing an effortless, natural chemistry. Watching them navigate the complications of adult relationships and the challenge of rediscovering oneself later in life is consistently engaging and emotionally resonant.

Cooper’s screenplay (written alongside Arnett and Mark Chappell) is sharp and perceptive, giving both lead characters a sense of depth that feels fully lived-in. Rather than relying on dramatic turning points or clearly defined incidents to explain the collapse of their relationship, the script allows it to unravel quietly, suggesting that they simply drifted apart and lost themselves along the way, with neither party in the wrong. This restraint makes the conceit feel more honest and recognizable. The dialogue is consistently naturalistic, grounding the film in a believable emotional reality. Similarly, its stand-up sequences are particularly well written, never sounding like polished material crafted by professionals, but instead like something raw and personal. The jokes shaped by trial, insecurity, and the therapeutic need to process pain rather than to fill a comedy club with laughter.

Cooper’s direction is equally impressive, as he embraces a style completely different from anything he has attempted before. The film is intentionally less polished and visually pristine than his previous efforts, favoring handheld camerawork and lingering close-ups, often holding on Arnett’s face during the stand-up sequences to capture the full spectrum of his emotions. There is a deliberately shaggy, vanity-free quality to the filmmaking that suits the material perfectly. This unshowy, intimate approach not only serves the story but should also convert many remaining skeptics of Cooper’s abilities as a filmmaker.

For a film centered on stand-up comedy, Is This Thing On? is not as laugh-out-loud funny as one might expect, and that restraint ultimately serves the story it is trying to tell. However, Cooper does thread humor through the film by populating it with offbeat supporting characters who lend it a quirky texture rarely found in divorce dramas. Cooper, himself, who until now has always cast himself in the leading role in his directorial efforts, steps into a supporting turn as a friend of the central couple named Balls. It is an intentionally heightened and peculiar performance that may feel too eccentric for some viewers in a film that is otherwise grounded in realism. While the character arguably belongs more in a broader comedy, Cooper’s performance is undeniably fun, allowing him to tap back into his Wet Hot American Summer and The Hangover roots—this time as the strange side character rather than the straight man.

Is This Thing On? is a quietly special film that deserves to be counted among the year’s best. It may not be the most technically ambitious or formally groundbreaking work of the year and for that, is likely to be overlooked in end-of-year discussions in favor of larger, flashier projects. In spite of this, it is still a deeply felt and immensely likable film, one that is immediately gratifying and easy to find value in. On top of that, it further solidifies Cooper as a confident and evolving filmmaker, while also opening a promising new chapter for Will Arnett, one that will hopefully see him continue to explore dramatic material in the near future.

still courtesy of Searchlight Pictures

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Tristan French