Oh, Hi! (2025) Review!!

Synopsis – Iris and Isaac’s first romantic weekend getaway goes awry in a most unexpected way.

My Take – It has become common knowledge that the modern dating scene is not a healthy one and to call it indescribably frustrating would almost be selling it short. A hot topic which up and coming filmmakers have been milking for a while now to mixed results. And first glance, this indie dramedy from writer-director Sophie Brooks (The Boy Downstairs) looks like just another addition.

But a clever and charmingly odd dark comedy serving on the highs and lows of modern dating and the ways it makes everyone a little crazy. That’s until it takes a turn for the comically absurd. Fueled by the raw power of a woman scorned, the film deconstructs relationship dynamics while being cuffed to a madcap, darkly comedic energy, as it imagines a scenario that honestly does not feel too far from reality.

Sure, much of the plot hinges on the characters making irrational choices, which can be frustrating to watch after a certain point, but the narrative is playful enough, as director Sophie Brooks is able to provide a fair amount of laughs in her writing, even when those shadowing psychological thriller elements threaten to take center stage.

Add to that Molly Gordon and Logan Lerman‘s great chemistry, the proceedings ensure decent entertainment overall. Note to new couples: Best not to define a relationship while one is chained to the bed after a bit of experimentation.

Beginning with a prologue foreshadowing the wild events that are soon to come, the story moves back 33 hours earlier and follows Iris (Molly Gordon) and Isaac (Logan Lerman), a couple on a romantic weekend getaway. Having been together for the past four months, the two are very much in sync with humor, wit, and conversation dominating their obvious attraction to each other.

They’re even on the same page on more intimate matters. However, things take a turn when the two find some BDSM gear and Isaac ends up handcuffed to the bed. Especially when Iris classifies the two as an exclusive couple and Isaac is quick to clarify that he’s not interested in a relationship.

Soon enough, they begin arguing the semantics of who previously said what, causing Iris to storms from the room, leaving Isaac naked with his feet and hands bound to the bed frame. Only to return the next morning imploring Isaac to give her 12 hours to make the case for them to be together.

From then onwards the film becomes a kind of over-the-top, “Misery”-styled meditation on entrenched gender clichés in heterosexual dating. The women are crazy and needy. The men are jerks and aloof. And no amount of rational discussion on either side will end the stalemate. Iris believes that if he just gets to know her a little better, perhaps he’ll change his mind. She goes long on her biography in a funny little sequence, but the monologues don’t help Isaac figure out on how to escape.

The narrative goes to hilarious paths the moment Iris involves her best friend, Max (Geraldine Viswanathan), who brings along her boyfriend Kenny (John Reynolds) for the ride, and together they all try to figure out how to get out of the situation without ending with a kidnapping charge and prison time.

It’s admirable how ardently they commit to making this outlandish premise as realistic as possible. And by embracing the genre-bending tonal shifts and clever dialogue, Sophie Brooks proves herself a filmmaker to watch out for. In general terms, the film’s basic premise is intriguing, raising questions about consent and power dynamics.

Yet at times, the exaggerated and ultimately sitcom-ish execution undercuts the overall flow. This is especially true in the last act, which takes some overtly ridiculous turns and goes on too long, with director Brooks and Molly Gordon (who co-wrote the story) not entirely sure where to take things. We are left with a series of baffling character choices that lack credibility, taking away much of the film’s depth.

Still, the film remains largely entertaining, not least of which due to the performances of both Molly Gordon and Logan Lerman, who each have to navigate tonally tricky roles and keep the film watchable. Without a doubt, Gordon is a huge reason the film works at all. She somehow keeps Iris grounded and relatable throughout, which is no small feat even after she makes one mistake after another.

And while Lerman gets substantially less to do, you come out feeling for both characters, trapped in anxieties of their own making and a social structure in which neither romance nor commitment seems to be a priority. The two make a cute pair backed up by their natural onscreen chemistry.

The two are well supported by Geraldine Viswanathan and John Reynolds, who are absolutely delightful throughout. In much smaller roles, David Cross and Polly Draper are fun as always. On the whole, ‘Oh, Hi!’ is an absurd romantic comedy anchored by its fun premise and solid performances.