二人の子供にも恵まれ、順調なはずだった夫婦、アレックスとテス。中年にさしかかり、置き去りにしてきたそれぞれの夢が二人の結婚生活を終わりに向かわせる。失意の中、ニューヨークの街でふと足を運んだコメディクラブで偶然舞台に立つアレックス。夫婦の赤裸々な関係を“笑い”に変えながら、新しい生きがいを見つけていくアレックス。その先にあった思いがけない人生とは…。
興行収入: $866,747 (1億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ブラッドレイ・クーパー
脚本: ウィル・アーネット / Mark Chappell / ブラッドレイ・クーパー
音楽: James Newberry
制作: ブラッドレイ・クーパー / Kris Thykier / ウィル・アーネット
撮影監督: マシュー・リバティーク
制作会社: Searchlight Pictures / Archery Pictures / Lea Pictures / TSG Entertainment
FULL SPOILER-FREE REVIEW @ https://fandomwire.com/is-this-thing-on-review/ "Is This Thing On? is the unexpected festival gem that demonstrates Bradley Cooper's masterful control over the form and heart of the story. It's a film that surprises with its authenticity, balancing raw humor with sincere pain thanks to the brilliant performances of Will Arnett and Laura Dern. Visually enriched by the intimate cinematography of Matthew Libatique, the movie teaches us that art can be our most honest cry. A warm, essential reminder that it's never too late to grab the microphone and start telling our own story, transforming crisis into catharsis." Rating: A
When did marriage vows incorporate the promise of living an inviolable life of happily ever after? It often feels like many of those who enter into such a contract believe that there’s supposed to be an inherent entitlement to perpetual wedded bliss, but, as they often discover, that proves not to be the case. So then what? Where do couples who’ve hit rough patches go from there? For most, it’s often separation and/or divorce, but is that really the most effective solution? As this latest offering from writer-actor-director Bradley Cooper illustrates, the trouble may lie with considerations other than a husband and wife’s compatibility – and if that issue proves not to be at fault, continued happiness might ensue, and no need for a parting of the ways may be required. Having been married for 20 years, Alex Novak (Will Arnett) and his wife, Tess (Laura Dern), have found their marriage faltering, but they don’t seem particularly hostile toward one another. Still, they decide to separate and begin investigating divorce. However, why would they go this route if they don’t feel contempt for one another or a lack of chemistry between them, especially given the complex logistics involved in expenses, setting up two households and figuring out how to share custody of their two sons (Blake Kane, Calvin Knegten). Perhaps their difficulty rests more with a lack of personal fulfillment in their individual lives than in the nature of their relationship. And having some time apart may be just the ticket to learning this and finding a way to restore the missing individual satisfaction that has made each of them feel unfulfilled (and thereby affecting the character of their marriage). For Tess, this means exploring the possibility of getting into coaching women’s volleyball, a sport she once excelled at herself. And, for Alex, it involves an impromptu stab at stand-up comedy at a New York open mic night, a lark that ends up proving to be a talent he never knew he possessed and that gives him enjoyment, recognition and an informal but viable form of therapy that helps him get his life back on track. Their respective endeavors change the way they see themselves and their relationship. But, since they’ve publicly proclaimed their intention to part company, what do they do now that they’ve discovered that their marriage may not be the problem after all? Do they keep up the pretense of separation, or do they bite the bullet and announce that initiating divorce proceedings was a mistake? In that regard, then, the film’s title thus becomes an ironic double entendre, one that characterizes the resurgent on-again/off-again nature of their relationship, in addition to a common face-saving observation comedians make about the alleged malfunctioning of their on-stage microphones when a routine appears to be heading south. “Is This Thing On?” provides viewers with not only an intriguing look at the world of stand-up, but also how an impulsive venture might unwittingly help to transform an unsatisfying life into something richly rewarding at a time when such a change is least expected. Its therapeutic nature, coming at a seemingly inopportune time, reveals much that had long been hidden, breathing new life into an undertaking that was nearly (and erroneously) written off for good. And it accomplishes this with a frankness and honesty rarely seen in movies about relationships, both with a partner and with oneself. This is largely made possible by the superb performances of Arnett, who shows off acting chops many of us probably never knew he possessed, and Dern, who turns in yet another signature portrayal, continuing to illustrate the tremendous range she possesses as an actress. It’s been disappointing to see this release shut out of awards season consideration thus far, but here’s hoping that turns around in the remaining competitions. And, from where I stand, that’s no laughing matter.
“Alex” (Will Arnett) is watching his life unravel. In his mid-forties, his marriage to “Tess” (Laura Dern) is heading to the divorce court and he’s generally feeling unfulfilled. He heads to a bar for a drink but balks at the $15 entrance fee. That’s to cover the costs of some folks doing stand-up, but is waived if he does ten minutes himself. Might as well, he thinks, so he takes to the stage and nervously begins to entertain the punters - many of whom are circuit regulars or aspiring comics, themselves. He doesn’t think he’s funny, nor does anyone else, but it is soon a regular vent for his spleen. When his estranged wife is out on a date one evening, they end up in the very club where “Alex” is doing his own far more visceral routine about his faltering marriage and needless to say she’s less that impressed at being the butt of his critique. Thing is, though, might those very routines encourage these two to begin to look at each other with fresh, more honest and critical, eyes? That’s the gist - a conflicted journey towards self-awareness for both of them, and I’m afraid it left me uninspired. I had hoped that the comedy might have lifted it more entertainingly from the soap suds, but I’ve never been a fan of victim humour - either from the perspective of the comedian or the subject, and what’s more it made me feel distinctly uncomfortable to hear people laughing at his lame scripts that weren’t remotely funny, but designed to exploit the cracks in his marriage in something of a selfishly cathartic fashion. Arnett and Dern both acquit themselves fine, but look below the surface of this and it’s same old, same old martial discord on a big screen - only exhibited in a pub basement.
