FindKey

FindKeyは、100万件を超える映画・ドラマ作品、そして数百万人の人物データと独自の16類型CTI診断を統合した、日本初の感情特化型映画レコメンドエンジンです。

Find (見つける) + Key (鍵・正解)

映画に限らず、人生のヒントを見つける場所です。

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世界にひとつのプレイブック
世界にひとつのプレイブック

世界にひとつのプレイブック

20122h 2m★ 7.1ドラマコメディロマンス

あらすじ

妻が浮気したことで心のバランスを保てなくなり、仕事も家庭も全て失ってしまったパットは、近くに住んでいるティファニーと出会う。その型破りな行動と発言に戸惑うパットだったが、彼女も事故によって夫を亡くしており、その傷を癒やせないでいた。人生の希望を取り戻すためダンスコンテストに出ることを決めたティファニーは、半ば強制的にパットをパートナーに指名する。<それぞれに愛する人を失い心に傷を負った男女が再生していく姿を、涙と笑いでつづるヒューマン・コメディー。デヴィッド・O・ラッセル監督が、人生の再起に懸ける男女をハートフルに描く。主演は、ブラッドリー・クーパーとジェニファー・ローレンス。さらにロバート・デ・ニーロ、ジャッキー・ウィーヴァーらベテランが脇を固める。>

作品考察・見どころ

本作の白眉は、壊れかけの魂がぶつかり合うことで生まれる凄まじい生命力にあります。主演の二人が見せる、剥き出しの感情を投げつけ合う演技は、既存の恋愛映画の枠を覆す破壊力に満ちています。不器用な人々が完璧さを脱ぎ捨てた瞬間の輝きが、観る者の心を激しく揺さぶります。 ダンスという表現を通じ、痛みさえも抱えて共にステップを踏み出す再生の物語は、泥臭くも崇高な感動を呼び起こします。絶望の淵でも光を掴もうとする情熱的な肯定感は、人生の嵐の中にいる全ての人へ、明日を生き抜くための鮮烈な勇気を与えてくれるはずです。

興行成績

製作費: $21,000,000 (32億円)

興行収入: $236,412,453 (355億円)

推定収支: $215,412,453 (323億円)

※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)。

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FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。

『マギーズ・プラン 幸せのあとしまつ』ほか、過ちの先で見つける「究極の純愛」ハッピーエンド映画5選

FindKey Editorial2026/2/3

キャスト

ブラッドレイ・クーパー
ブラッドレイ・クーパー
Pat Solatano Jr.
ジェニファー・ローレンス
ジェニファー・ローレンス
Tiffany Maxwell
ロバート・デ・ニーロ
ロバート・デ・ニーロ
Pat Solatano Sr.
ジャッキー・ウィーヴァー
ジャッキー・ウィーヴァー
Dolores Solatano
Anupam Kher
Anupam Kher
Dr. Cliff Patel
クリス・タッカー
クリス・タッカー
Danny McDaniels
ジュリア・スタイルズ
ジュリア・スタイルズ
Veronica
シェー・ウィガム
シェー・ウィガム
Jake Solatano
ジョン・オーティス
ジョン・オーティス
Ronnie
Paul Herman
Paul Herman
Randy

スタッフ・制作会社

監督: David O. Russell

脚本: Matthew Quick / David O. Russell

音楽: ダニー・エルフマン

制作: ブルース・コーエン / ドナ・ジグリオッティ / Jonathan Gordon

撮影監督: Masanobu Takayanagi

制作会社: The Weinstein Company

TMDB ユーザーのレビュー

tmdb39513728
tmdb39513728

**Dolly Mopping** (29 January 2013) Jennifer Lawrence is one magnificent slut. Her performance in _Silver Linings_ is a tour de force. She nails it. Not since Jennifer Jason Lee in _Last Exit to Brooklyn_ has a trashy trollop been played so convincingly. She easily deserves to win the Oscar for best actress and for any other category the film might win since she is the reason it's in the running at all. It's not easy being a slut. And harder still garnering sympathy for one. We can never be certain if her salacious wonts are biological or self-imposed. The grand old whore is a whole lot more desirable. She is typically forced into a her predicament for money or by male coercion. She's portrayed as a victim and tattooed with a heart of gold. But the nymphomaniac is a sadder sort. She's not as fetching or sentimental. Why should we care about her? It's clear that she either can't get enough carnal pleasure for herself or desperately seeks endless attention from men. Pathetic, is it not? But Lawrence absorbs the role and literally runs with it. Perhaps even re-writing the Dolly-Mop playbook. This movie will be required viewing for budding psychologists. And while Bradley Cooper does an impressive job bouncing the the bi-polar ball, we know he's acting. Fine work Mr. Cooper, no one else could have done it better, maybe. But down the street a few blocks, we entirely lose ourselves in Ms Lawrence. She deftly out-performs them all. Daniel Day Lincoln has to be relieved that there is a gender divide in the acting awards categories. Lawrence is so adept at playing the unapologetic slut that we suspect she's not acting. That she's spilling her guts. Revealing all the sores and warts of her true self. And this is what makes her so great in the movie.

Kamurai
Kamurai
★ 8

Great watch, probably won't watch again, and can recommend. This is a great movie that I don't care about. I'm not a particularly big fan of either Bradley Cooper or Jennifer Lawrence, though they are clearly great actors, and give a fantastic performance in this, especially with the range of emotions delivered and broad spectrum of dialogue topics. It's about two sad, broken people who are trying to rehabilitate and release back into society despite their behavioral problems. While that is intriguing from a psychological perspective, I found it to be more sad than fun, which does make it powerful and worthy of awards and your attention, but it's not a movie that I'm going to re-watch lovingly. The writing is excellent: well structured and has good content, with an odd message that it is okay to lie to people when it is in their best interest so that you can get them to a potential to better themselves even if choose not too, and that is what love is. The movie also focuses a fair bit on proper etiquette of social interactions, football, and dancing: none of which I'm particularly fond of watching. So while there isn't a lot for me in this, objectively, I do believe that a lot of people will like this and it is well worth a watch.

Filipe Manuel Neto
Filipe Manuel Neto
★ 9

**An excellent film.** I confess that this movie was better than I was expecting. I thought I would find a simple romantic comedy, conventional and relatively predictable, but I was very pleased with the way the story develops and the conception of the characters. The director, David O. Russell, is also responsible for _The Fighter_, a film that won two Oscars but that I don't think is as good as this one. The script is, in my opinion, quite well written, and follows Pat, a man who has just been released from a psychiatric hospital where he served a sentence of a few months, after catching his wife in the act of adultery and violently assaulting her lover. With his marriage over, he goes to his parents' house, his father being a crazy fan of the town's football team and seems to be convinced that having his son close during games brings good luck to the team. In the midst of his attempts to get close to his ex-wife (who has imposed an injunction on him by law), he approaches Tiffany, a young widow, with a strong temper and very explosive manners, who proposes to help him in swaps him being her date in a dance contest. The story is very good, and it is full of shenanigans arising from the volatility of Pat and Tiffany's personalities. The characters, played convincingly and very committed by Bradley Cooper and Jennifer Lawrence, are complex and demanding, and it was great to see the way in which the two actors were facing the challenge and solving what they had in front of them. Furthermore, Lawrence won the Oscar for the work done in this film, which, in addition, had seven other nominations – Best Picture, Best Actor, Best Supporting Actor, Best Supporting Actress, Best Director, Best Adapted Screenplay and Best Editing. In addition to the duo of main actors, the film has an excellent supporting cast, including the impeccable Robert DeNiro, the wonderfully restrained and maternal Jacki Weaver, and the dysfunctional and strange couple played by Julia Styles and John Ortiz. In the midst of so many good things, is there anything less good or possibly bad? I think so. Although I really like the film in general, I feel that the ending was a little cliché, and that the solution found is a little too conventional for a film that seems to want to give us something different from most romantic comedies we are used to. I also thought that there are some characters that end up not getting enough attention (Julia Styles, John Ortiz, in a subplot that gets very sketchy and underdeveloped). But these are points that end up not detracting from the film's value, criticisms and minor repairs. On a technical level, I would like to positively highlight the excellence of the cinematography, with the film taking advantage of the good filming locations in the city of Philadelphia, and the editing, which makes the film pleasant, giving it the right pace. Good sets and costumes (in particular what is reserved for Lawrence, who has a somewhat depressing look) complete the positive values ​​of a discrete production, without great effects or visual artifices.

scout283
scout283

It’s hard to find a film that is intimately relatable while not overly exaggerating or undermining human conditions. This is a movie where I saw myself in the characters, especially at a symptomatic time when I needed to see a story where people were in similar chaos and found coping mechanisms that reflected their personal battles. Pat manages through routine and structure, and Tiffany through movement and dance—both coping in ways that reflect who they are. It's a valuable portrayal that shows healing isn't one-size-fits-all—especially when deep breaths and meditation don't quite cut it. The heartfelt and extremely well-executed portrayals and discussions around bipolar episodes, psychosis, grief, relationship/family stability, depression, medications, diagnoses, and much, much more are refreshing and showed me that the harsh navigation toward proper treatment isn't so isolating. Its comforting vagueness mirrors real-life ambiguity and slow healing. This film reminds us that even though your struggles are unique and painful, you are never alone, and there is always someone—closer than you think—who can see right through you (in a good way) when others fail to do so. Pat feels alone in his effort to get better, especially when no one takes him seriously—and Tiffany gives him the connection he was missing. Things may take time, as they often do, but holding out for the light at the end of the tunnel (probably not a romantic dance competition) is worth it—you’ll get there. This film shows that recovery is messy but possible. Pat’s recovery is left open-ended—progress, not a cure. Symptoms weren’t cleared, but he’s not trapped anymore. He has stability, connection, and direction—and that’s the whole point. WATCH THIS MOVIE!!!

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