Oh, Hi!
A Review by Ava Bellows
MOLLY GORDON as Iris, LOGAN LERMAN as Isaac in ‘Oh, Hi!’
Courtesy of Sony Pictures Classics
Oh, Hi!
A Review
by Ava Bellows
At a time when most people mourn their almost-relationships with the same gravity once reserved for actual divorces, Oh, Hi! arrives like a feral little gift. Written and directed by Sophie Brooks, co-created by and starring Molly Gordon, the film is a one-location, one-situationship story that plays like a romantic comedy held hostage by a woman's breaking point.
Iris (Gordon) is taken on a weekend getaway by Isaac (Logan Lerman)—her sort-of boyfriend, though that term becomes increasingly unsteady the more they talk. The house is gorgeous, the vibes are romantic, and the man is giving boyfriend energy. Like: swimming together in a lake. Moonlit dancing. Daylight oral sex, which is, to quote Iris, "boyfriend shit." He planned this trip. He pursued her. He's the one who started this.
‘Oh, Hi!’, Courtesy of Sony Pictures Classics
And then—once tied to the bed as part of a consensual kinky experiment—Isaac calmly announces that he's not interested in a serious relationship. Worse: he doesn't consider what they've been doing to be serious at all. Even worse: he's been sleeping with other people. (But don't worry, he says, helpfully—he used condoms with them.)
What follows is not quite a hostage scenario, not quite a relationship drama, and not quite a comedy, though it plays in all those sandboxes. Iris doesn't hurt Isaac. She doesn't yell. She just… lets him stay tied up. Because finally, finally, she has his full attention. No more avoidance. No more ambiguity. Just two people stuck in a room together, forced to say all the things that, in modern dating, usually get left unsaid.
This movie is, first and foremost, about the madness that comes from trying to love someone who insists that what you're doing isn't really happening. It's about what it means to be called "crazy" in a world where withholding affection, dodging clarity, and romantic gaslighting are par for the course. Isaac's not a villain—he's frustratingly normal. That's what makes it sting. He's soft-spoken, charming, and thinks of himself as a good guy. But his actions, like those of many good guys before him, make Iris feel like she's losing her grip.
GERALDINE VISWANATHAN as Max, JOHN REYNOLDS as Kenny in ‘Oh, Hi!’
Courtesy of Sony Pictures Classics
Oh, Hi! has enormous fun playing in this gray space. It's not just a story of one woman cracking—it's a close study of the ecosystem that drives her there. The line between funny and terrifying gets blurry fast. The romantic cabin, once charming, starts to feel a little haunted. The physical intimacy they shared earlier now sits in the air like a trick. And the only reason these two are finally talking, really talking, is because Iris removed Isaac's option to ghost.
What Brooks and Gordon do so well is build a tone that doesn't lean too hard in any direction. This could have been a messy revenge fantasy. It could have gone prestige-serious or leaned into horror. Instead, it holds a steady, razor-sharp line between comedy and catharsis. It's a movie built on the premise that in 2025, emotional ambiguity is its own form of violence.
It also hits at the exact right moment. We are deep in the era of heterofatalism—the growing belief that heterosexual love is inherently doomed—and the male loneliness epidemic. Everyone wants connection, but no one wants to initiate it. Everyone's afraid of looking too eager. No one wants to define anything. We live in a world where men are lonely, women are exhausted, and everyone is "seeing where this goes" until someone breaks. Oh, Hi! understands that break—and doesn't mock it.
What's also rare here is the script's willingness to sit in the mess. Iris isn't always likeable. She's needy. She overthinks. She's been hurt and hasn't let it go. But none of that makes her wrong. It's just that we've been trained to think women only deserve compassion when they're chill about their own pain. The film puts a giant spotlight on the "crazy ex" trope and dares to ask: Are these women unstable, or were they simply pushed beyond their emotional limit by someone else's cowardice?
MOLLY GORDON as Iris, LOGAN LERMAN as Isaac in ‘Oh, Hi!’ Courtesy of Sony Pictures Classics
Gordon and Lerman both give pitch-perfect performances. Geraldine Viswanathan, John Reynolds add levity and distance, the way your well-meaning friends try to talk you off the ledge when they can't quite see what you're dealing with, and David Cross brings surprise and tension-breaking laughs. But the heart of the movie lives in the conversations between Iris and Isaac—conversations most people in situationships have either craved or feared. It takes being physically restrained for Isaac to stop dodging and start answering. And while the film doesn't condone this setup as a healthy strategy, it does pose a tricky question: if this is what it takes to get honesty, what does that say about us?
Oh, Hi! is sharp, funny, slightly deranged in the best way, and deeply, recognizably human. It's not a neat love story or a clean morality tale. It's a mirror pointed straight at the chaos of modern intimacy. And whether you laugh, wince, or squirm, you'll probably walk away thinking, I've been Iris. Or I've dated one. Or, more likely: both.
WATCH TRAILER
OH, HI!
DIRECTED BY Sophie Brooks
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