‘Oh, Hi!’ Review: Molly Gordon and Logan Lerman Have Electric Chemistry in Sophie Brooks’ Twisted, Half-Great Spin on the Rom-Com
Logan Lerman and Molly Gordon in Sophie Brooks' 'Oh, Hi!' - Courtesy of Sundance Institute
A darkly funny take on modern love and millennial commitment anxiety, Oh, Hi! surprises with its raw intimacy—until it runs out of places to go
Premiering at Sundance, Sophie Brooks’ sophomore feature Oh, Hi! begins with all the glossy sheen of a classic indie rom-com—two impossibly attractive young people escaping their city lives for a romantic getaway in upstate New York. But beneath the genre’s traditional trappings lies something much darker, weirder, and more emotionally volatile. Led by two searing, magnetic performances from Molly Gordon and Logan Lerman, Brooks’ film ultimately becomes a dizzying dissection of romantic expectation, gender roles, and the suffocating pressure to define connection in a hyper-digital age.
Iris (Gordon) and Isaac (Lerman) are the kind of couple that elicits sighs from strangers—beautiful, affectionate, seemingly in sync. Their banter is flirtatious, their body language relaxed, their spark unmistakable. Yet the cracks start showing early, when a roadside strawberry vendor flirts with Isaac, drawing the first visible signs of tension. It’s a subtle moment, but it reverberates throughout the film. Iris wants something more—validation, permanence—while Isaac seems content to float.
Their rental farmhouse, bathed in golden-hour sunlight, becomes a stage for unfolding contradictions. There are long meals on the porch, slow dances by the firelight, and a sexual encounter that, while initially tender and consensual, spins unexpectedly. A misguided experiment with restraints leads to a reversal of control—and then to a revelation that shatters Iris’ world. Isaac never saw this as a serious relationship.
From here, Oh, Hi! makes an audacious pivot, tilting into psychological drama. Iris, devastated and unable to process the rejection, keeps Isaac chained to the bed. What began as kink becomes captivity. It’s a wild, jarring escalation, and Brooks stages it with tonal precision—equal parts Misery, 500 Days of Summer, and Shiva Baby. The film doesn’t condone Iris’ behavior, but it invites us into the emotional chaos that led to it.
As the weekend descends into madness, friends Max (Geraldine Viswanathan) and Kenny (John Reynolds) arrive, their stable relationship a foil for the turmoil inside the house. Their presence injects a layer of comic relief, but also deeper questions about modern love—what we want from our partners, and what we’re taught to expect.
Gordon delivers a performance that is both electric and excruciating. She plays Iris not as a villain, but as a woman unraveled by the weight of her own longing. Lerman, long an underrated talent, shines in his most vulnerable role yet, making Isaac a frustrating but all-too-real portrait of modern masculinity—emotionally intelligent, but noncommittal; affectionate, but evasive.
The script thrives on the interplay between control and chaos, intimacy and isolation. Brooks and Gordon, who conceived the story together, peel back the layers of romantic projection with surgical precision. The film explores how loneliness can masquerade as desire, how a good connection can cloud judgment, and how sometimes, love isn’t enough to keep two people tethered.
Viswanathan and Reynolds provide ballast to the story’s emotional volatility. Their dynamic feels lived-in, authentic, and grounded in mutual respect. Reynolds in particular is a scene-stealer, his dry delivery offering some of the film’s sharpest comic beats.
Visually, Brooks and cinematographer Autumn Durald Arkapaw bathe the film in soft, natural light, capturing the tension between the idyllic setting and the psychological strain of the characters. The farmhouse becomes a crucible, beautiful yet claustrophobic, echoing the emotional entrapment unfolding within.
The film’s only major shortcoming is its second half, which, despite a strong premise, begins to loop. The tension plateaus, and some of the thematic threads feel underdeveloped. Isaac’s emotional reticence, while believable, lacks a satisfying resolution. A deeper dive into his interiority could’ve elevated the stakes further.
Still, Oh, Hi! is a compelling and bold entry into the rom-com canon—a genre-bender that embraces discomfort, ambiguity, and the messiness of intimacy. It’s not afraid to ask: What happens when we want someone more than they want us? What happens when the idea of a relationship overtakes the reality of one?
This is a film that lingers long after it ends. It’s about obsession and rejection, control and vulnerability, and the terrifying prospect of being misunderstood by someone we thought understood us completely. Brooks captures that uniquely millennial contradiction: We crave closeness, yet fear commitment. We’re more connected than ever, yet lonelier than we’ve ever been.
It’s not a perfect film, but it’s a brave one—intensely felt, sharply written, and quietly devastating. And in a Sundance lineup stacked with heartbreak, this one might just be the most uncomfortably honest.
Rating: ★★★★☆
Oh, Hi!
Venue: Sundance Film Festival (Premieres)
Cast: Molly Gordon, Logan Lerman, John Reynolds, Geraldine Viswanathan
Director/Writer: Sophie Brooks
Runtime: 1 hour 34 minutes
Dated: January 31, 2025
THE CINEMA GROUP - YOUR PREMIER SOURCE FOR THE LATEST IN FILM AND ENTERTAINMENT NEWS. FOLLOW US ON SOCIAL MEDIA @THECINEMAGROUP
