Sophie Brooks’ sophomore film, Oh, Hi!, brings dark humor to the rom-com genre with an interesting premise and strong performances.
Oh, Hi!
Directed By: Sophie Brooks
Written By: Sophie Brooks
Starring: Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds
Release Date: July 25, 2025
Oh, Hi! puts the focus on Iris (Molly Gordon) and Isaac (Logan Lerman) as they journey to the countryside in order to enjoy a romantic weekend. The young, and way too good looking, couple seem to the be the picture perfect example of a budding relationship. As the duo settle into their rental cabin, splashing around in the nearby river/lake, and enjoying a beautiful candlelight dinner.
Everything is going amazing, including an impromptu bit of bondage play in the bedroom with some chains they found in the closet. When Isaac ends up mentioning he’s not actually looking for any kind of relationship, however, the idyllic romantic getaway gets flipped on its head.
You all know I tend to keep my review free of spoilers…but it’s almost impossible to talk about this film without acknowledging this main conceit. So if you want to know NOTHING about the movie, I’d turn back now. Otherwise, I’ll still keep the major plot beats hush-hush.
Still here? Okay.
Isaac’s revelation comes as a shock to Iris who, after four months of dating (and a few other things we see), believed they were already in an exclusive relationship. Considering all that happens in the film up to this point, it’s easy to see her side of things as Isaac seemingly acts like the ideal boyfriend.
Angry, confused, and understandably upset, Iris storms out and leaves Isaac chained to the bed. After a restless night of desperate research, she comes up with a desperate plan: keep Isaac tied up in bed in order to convince him they actually belong together.
Yes, it’s a ridiculous idea and all that follows, as Iris’ ill-thought plan becomes increasingly desperate (to the point she ropes in her friends to help) as the weekend goes on, only increases the absurdity. That’s a big part of its charm, however, along with some great performances that manage to sell the silliness while still feeling like real people.
So much of the film hinges on Molly Gordon and Logan Lerman’s portrayals, and they nail it. The chemistry between them is firing on all cylinders, making the heartfelt moments and humor land with equal intensity. Even the smaller roles of Max (Geraldine Viswanathan) and Kenny (John Reynolds) are memorable and hilarious, even as the story continues to get more ridiculous. They’re almost instantly endearing and you find yourself rooting for them to find a way to work things out, even as you recognize how messed up the overall situation is.
The film’s overall presentation/structure is fun in some interesting ways as well. Well it’s primary a comedy, it plays around with it’s main idea almost like you would in a horror/thriller. It’s hard not to see comparisons to Misery here. While that aspect of the film isn’t really a thing, it establishes a consistent level of tension that keeps you wondering how they’re going to resolve things.
There are definitely some odd, illogical things in the script that might make it hard to relate to certain decisions being made. That said, much of that feels very intentional as there are all kinds of illogical things about being in love and dealing with heartbreak. Behind the humor, Oh, Hi! is touching and heartfelt as it explores the idea of love and loss.
Even in its absurdity, the pain of a breaking heart is all too relatable. The sudden realization you aren’t on the same page as the other person, plus the fear of losing a potential future and the crazy desperation it can cause. Oh, Hi! does a fantastic job of capturing those feelings; crafting an emotional hook that keeps you invested—hopeful—in how it ends.
Realistically, we know there’s no real “happy ending” possible, but that bittersweet realization is key to the overall experience. The result is a story that feels earnest in its messaging, even as it gets a bit messy/muddled at parts.
Oh, Hi! is an interesting flick. It’s got a unique idea, solid performances, and is genuinely funny throughout. It struggles a bit in the middle, but coming in at a brisk 90 minutes, it’s hard to say it ever really drags. There are some quirks to it, but the more I’ve thought about the film the more it’s grown on me. It may not be the kind of film you come back and revisit regularly, but something about it has stuck with me and won’t shake out. A more lasting impression than I anticipated when the credits initially rolled.
