Movies

The funny-tragic rom-com ‘Oh, Hi!’ starts blissful, ends toxic

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The movie titled “Oh, Hi!” can be seen as a subtle jab at ladies’ men such as Rudolph Valentino, James Bond, and Jordan Belfort from “The Wolf of Wall Street.” These characters were straightforward with their seduction attempts. However, the protagonist Isaac (played by Logan Lerman) deceives women into thinking he is kind-hearted. After four months of dating Iris (portrayed by Molly Gordon), who has grown fond of him, he takes her on a surprise weekend trip to a farmhouse in High Falls, complete with traditional Shaker furniture and hidden seductive items. It’s during this getaway that Isaac reveals his unwillingness to commit. His actions are deceitful, and Iris seeks revenge.

As a movie reviewer, here’s my take on it: In the initial scenes, director Sophie Brooks and cinematographer Conor Murphy seem to revel in idyllic moments, filled with sunflowers, fluffy clouds, and perfectly arranged Adirondack chairs – all reminiscent of a picture-perfect Instagram post tagged #couplegoals. However, the filmmaker cleverly transitions from these serene images into a tantalizing, light thriller, hinted at since the ominous opening violin score.

Iris and Isaac don’t seem to be concerned about any warning signs (red flags), but there are some subtle indicators of potential issues (pink flags). For instance, Iris appears anxious whenever Isaac talks to other women, such as the strawberry vendor who compliments him on his “soft hands,” or his mother, with whom he shares inside jokes. Iris’ smile often seems forced, while Isaac’s is always calm, even when recalling a sensitive memory like catching his father being unfaithful to his mom.

From a film enthusiast’s perspective, seeing my father’s unfaithfulness sparked within me an apprehension towards commitment. Much like Brian De Palma, this event seemed to shape his career in a profound way. However, I am more of a literature buff, often carrying José Saramago’s “Blindness” with me as a subtle reminder that we both struggle to recognize our own mismatches clearly. I yearn for the casual intimacy of a relationship without the burden of lofty expectations. Yet, Iris’ sparkling eyes reflect nothing but high hopes and anticipation.

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In the credits of the ‘misadventures in romance’ movie she starred in alongside ‘The Bear,’ she steps into the spotlight as the main actress, proactively claiming her role without requiring an offer from Hollywood.

The story devises a method to confine them in the bedroom as they progress towards understanding each other better. (It’s done with several sets of handcuffs.) The logic behind this forced situation is difficult to accept. You have to constantly remind yourself that she’s under the influence and acting impulsively, while he, surprisingly, keeps his emotions hidden until the precise instant when he should remain silent instead of speaking up to save himself.

Partners such as Isaac are gradually moving towards a potential clinical label: alexithymia, which refers to difficulty expressing feelings. This condition often impacts those close to the affected person more than the individual themselves. Max, Iris’ friend, provides a more straightforward assessment: “Typical case of a softboy,” she sighs. “They deceive you, they ensnare you – they are the worst.

Although they’re not recent developments, these types of characters appear to be multiplying rapidly. For decades, cinema has been cautioning us about this species of seemingly innocent heartbreakers – a role perfectly embodied by Woody Allen. On the flip side, Julia Roberts portrayed a similar character in “Runaway Bride,” being so evasive about her emotions that she abandoned four grooms at the altar. This month, you can catch the recently released psychological horror film “Bury Me When I’m Dead,” which presents an additional challenge by narrating its story from the perspective of its indecisive lead character.

Just as it’s hard to photograph the elusive nature of the moon, movie scripts often find it challenging to encapsulate intangible concepts. In this case, Isaac seems to evade accountability by feebly suggesting, “The problem is that I may have gone overboard in being kind to you?

Lerman, known for his roles in “The Perks of Being a Wallflower” and “Percy Jackson,” is an intriguing choice for the character Isaac in the show. Young girls often idolize actors like him who are marketed as attractive, harmless, and one-dimensional. To let Iris fill Isaac with her own ideas about him, Lerman plays Isaac in a shallow manner. This way, viewers can project their thoughts onto him without being distracted by a complex character. Some might argue that his performance is just average or strong, but what stands out is how well he mirrors what people want to see. He’s very convincing at pretending to be charming, much like a fox that uses its wit to escape danger.

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The film struggles to maintain a consistent portrayal of Iris’ character, as she alternates between being relatable and reminiscent of Kathy Bates in “Misery.” However, Gordon, who collaborated on the story with Brooks, is an agile and endearing comedian. Leveraging her theater background, she performs a captivating talent-show dance to win over Isaac’s affection. Fans of her comedy show “Theater Camp,” which she co-wrote and co-directed, will recognize this energy. The film seems to favor Iris more than Gordon, which is expected given its female creators and romantic comedy genre. However, this bias brings it dangerously close to saying, “You made me do this.

The film presents an astute observation (although it could be more fully fleshed out), suggesting that nobody is willing to tell Iris the honest truth. Her mother (Polly Draper) carries her own burdens, telling Iris, “Sometimes men don’t know what’s best for them.” The overly optimistic voices on the internet try to comfort Iris with weak promises about men backing away before they commit. Max, however, first suggests killing Isaac and then jokes about it. Is she joking? Maybe. Yet, both Iris and Max are so used to hiding their true feelings behind humor that it becomes challenging for them – and us – to discern their genuine thoughts.

Max’s own boyfriend, the easygoing and helpful Kenny (John Reynolds), might as well sport a T-shirt that reads, “I’m Not Everybody’s Lover.” Apart from him, the only other character that slightly stands out is David Cross, who plays a nosy neighbor, essentially added to boost the indie production with his celebrity influence.

Gradually and sadly, our characters slip into stereotypical Mars-Venus roles – he becomes the cold, insensitive one, she the emotional, volatile one. This is what Brooks expresses in her frustration as she observes that despite efforts to move beyond these harmful stereotypes, progress has been slow. For quite some time, Isaac has prepared homemade scallop dishes, while Iris calmly tries to maintain composure. The central theme of the film becomes: Why have men and women put so much effort into breaking free from toxic roles only to find themselves stuck in these positions?

I find the film likable, but not exactly enamored.

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2025-07-24 22:31

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