Bradley Cooper’s latest directorial venture just landed the coveted closing night slot at the New York Film Festival, and darlings, this one’s got everyone buzzing. “Is This Thing On?” marks Cooper’s third time behind the camera — and honestly, who’d have thought the guy from “The Hangover” would become one of Hollywood’s most intriguing auteurs?
Fresh off “Maestro” (which, let’s be real, dominated awards season chatter these past months), Cooper’s taking quite the creative detour. His new film peers into comedy’s grittier corners, serving up what promises to be a deliciously complex dramedy. Dennis Lim, NYFF’s artistic director, calls it “a film of many dimensions and surprises” — though frankly, that barely scratches the surface of what’s brewing here.
The casting? Pure genius. Will Arnett and Laura Dern headline as the Novaks, a divorced couple whose split somehow lands them in New York’s stand-up scene. It’s the kind of pairing that makes you wonder why nobody thought of it before. Then there’s Ciaran Hinds bringing his gravitas, Amy Sedaris doing what she does best (being brilliantly unhinged), and — wait for it — Peyton Manning. Yes, that Peyton Manning. The same one who’s been killing it lately in those clever AI-powered commercials.
Cooper’s decision to premiere at NYFF rather than the usual festival circuit speaks volumes. Toronto? Telluride? Please. There’s something perfectly fitting about unveiling this New York story right here in the city that never sleeps — especially now that the West Village comedy scene’s experiencing such a remarkable renaissance. (Those ticket prices, though… but that’s another story for another column.)
What’s fascinating is watching Cooper’s evolution behind the camera. From “A Star Is Born” to “Maestro,” and now this? He’s basically giving a masterclass in how to transition from movie star to serious filmmaker without losing that commercial appeal. Matthew Libatique’s return as cinematographer suggests we’re in for another visual feast — their collaboration has become one of Hollywood’s most reliable partnerships.
The premise draws inspiration from British comedian John Bishop’s real-life journey, but don’t expect just another showbiz story. This one’s diving deep into the messy business of middle-age reinvention. And honestly? In 2025, with everyone and their mother pivoting careers faster than you can say “TikTok sensation,” the timing couldn’t be better.
NYFF63’s lineup is shaping up to be quite the affair. Between Guadagnino’s “After the Hunt” opening things up and Jarmusch’s latest family drama serving as centerpiece, the festival’s practically dripping with prestige. But there’s something about Cooper’s closing night selection that feels… different. Maybe it’s the meta-commentary on authenticity in performance. Or perhaps it’s just that Hollywood’s golden boy keeps refusing to play it safe.
Searchlight Pictures hasn’t dropped the release date yet — typical industry chess moves — but here’s betting it’ll land just in time for awards season consideration. Because darlings, if there’s one thing Bradley Cooper knows how to do (besides those impossibly blue eyes), it’s crafting films that bridge the gap between art house ambition and mainstream appeal. And in today’s fractured entertainment landscape? That’s worth its weight in gold-plated statuettes.
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