“Oh, Hi” is a clever, wittily off-kilter dark comedy that jabs at the very bruises we all collectively try to numb as we search for love in the internet age. The premise is simple: what if a woman (played by Molly Gordon) tried to wring a little more pathos out of the not ready to date right now guy (Logan Lerman) by…well…tying him to a bed?
What sounds like the setup for the cheesiest slasher flick is, in fact, the launching pad for Sophie Brooks’ oddly sweet exploration of mixed signals and the complexities of men, women, and their attempts at communication in the 21st century. Brooks, who wrote and directed, navigates the film’s tricky tonal shifts with surprising grace.
“Oh, Hi” is bright and dark, but never cruel. It’s occasionally very sweet, but never cloying. It gets how crazy dating is — but dares to suggest what could happen if one woman decided to take it just one teeny tiny step further, with a grin on her face.
The film is primarily a two-hander that relies heavily on its two leads, both of whom are outstanding. Molly Gordon shines as Iris, playing her with an unsteady energy that keeps the audience engaged. Although Iris could be unlikeable and flirts with villainy through her chaotic actions, Gordon infuses her with a lovestruck humanity.
Iris is not the villain; she’s a hapless romantic whose poor judgment and emotional baggage lead to questionable choices. Despite being aware of her flaws, she continues to navigate her complex logic, making her a relatable antiheroine.
Logan Lerman is the perfect goil, landing exactly the right mix of smug and sympathetic as Isaac. He’s the guy who says, “I don’t even know what I’m rit’s for,” but also booked that couples massage. His playful chemistry with Gordon is excellent and only gets juicier when he’s tethered to the bed and can’t help but talk about his feelings — she’s dodging or ducking allowed, in a can’t that no dating app could ever condition him to do.
Brooks keeps the story tightly contained within the cabin, which enhances the theatrical experience. He focuses on two characters who are trying to hold themselves together while navigating their emotions and humor in close quarters. The dialogue sparkles, the pacing is brisk, and the emotional moments feel authentic, even if they sometimes come across as cartoonish.
“Oh, Hi” may not reinvent the wheel, but it playfully challenges genre expectations while offering a twisted perspective on the struggle for connection in the modern world and the lengths we go to maintain it.
Final Grade: B
“Oh, Hi” opens in theaters on July 24th.
After achieving success with “Presumed Innocent,” Apple TV+ is now giving another ’90s thriller the miniseries treatment in “Cape Fear.”
After months of anticipation, Showtime returns viewers to the Windy City for one last hurrah as “The Chi” kicks off its final season. In the past, viewers longed to escape from characters disappearing and drifting storylines. However, the show has always kept me invested.
Picking up after Coop (Jon Hamm) narrowly avoids prison, the season finds him still navigating moral gray areas, even after realizing that Sam (Olivia Munn) framed him for murder. His relationship with ex-wife Mel (Amanda Peet) remains complicated—emotionally unresolved yet intentionally restrained. The show avoids easy resets, allowing its characters to grapple with the discomfort they’ve created.