Sundance Review: Oh, Hi! is a Fun Experience that Takes a Wrong Turn

      Have you ever tied someone up and left them? Neither have I. But it certainly serves as an intriguing inciting incident for a film. A more relatable scenario, however, is the romantic getaway—an essential milestone in any budding relationship. Spending uninterrupted time together works wonders for getting to know one another, revealing truths that shape the future of the relationship. Iris (Molly Gordon) and Isaac’s (Logan Lerman) trip begins like a commercial for AirBnb in Oh, Hi! However, what starts as an enjoyable weekend quickly loses its charm; sadly, the film follows suit.

      On their initial trip together, Iris and Isaac experience the ideal weekend: singing Dolly Parton and Kenny Rogers’ “Islands in the Stream,” sipping large glasses of wine on the porch while reading, and spontaneously enjoying intimacy on the couch. The pair is adorable, complemented by the natural chemistry between Gordon and Lerman. Some of Iris’s intense feelings for her partners raise questions, but those concerns are soon overlooked. Unfortunately for Isaac, when things take a turn toward the risqué, Iris has a breakdown.

      When Iris refers to them as a couple, Isaac promptly clarifies that he isn’t looking for a relationship. Their argument about what was said leads Iris to storm out, leaving Isaac tied up and exposed to the bed frame. The next morning, Iris returns, asking Isaac to grant her 12 hours to plead her case for their relationship. When a frustrated Isaac demands to be released, Iris threatens him with a knife; a startled Isaac feels he must comply with her wishes. It’s a clever mix of Gerald’s Game and Saw if Jigsaw were a millennial brunette with a short fuse for coffee orders.

      Isaac becomes a captive audience for Iris to share her life story and viewpoints, highlighting Gordon’s comedic talent. With Isaac still unconvinced, she brings in her friend Max (Geraldine Viswanathan), who’s accompanied by her boyfriend Kenny (John Reynolds). Each new character adds a playful energy; Viswanathan and Reynolds are both strong comic talents who enhance the main cast. Max is the supportive friend, while Kenny plays the empathetic prison guard. Once they become complicit in Iris’ unlawful act (Kenny, a true-crime enthusiast, assumes the role of their unofficial legal consultant), the trio runs out of ideas for their next steps. So does the film.

      What begins as an engaging satire of relationships and the Internet's tendency to provide the desired answers instead of the necessary ones fails to maintain its momentum. The comedic challenges of holding someone captive (such as feeding them by hand and holding a bowl while they relieve themselves) quickly become stale. Even cheeky nods to the film’s title wane around the midpoint. Just as the characters seek their next move, the screenplay stumbles. A promising shift toward witchcraft is established but ultimately leads to an unsatisfactory resolution.

      The narrative shifts to questioning who bears the blame. Max characterizes Isaac as a “soft boy,” similar to a “fuck boy” but one who engages in relationship activities instead of just sex. Kenny and Isaac engage in a heartfelt conversation about how men are biologically predisposed to see relationships as threats, which comes off as a dubious remark reminiscent of an AITAH Reddit post. It’s a rocky start for Sophie Brooks’ feature debut, yet there’s enough enjoyment to suggest potential for a subsequent project.

      There are insights on communication, trust, and the dangers of seeing life through rose-colored glasses, but the screenplay shows little interest in exploring these themes. Instead, everyone finds their own resolutions. Blame is assigned to both sides, and ultimately, no one truly learns a lesson in the unsatisfactory conclusion of Oh, Hi!. David Cross does add some fun to the mix, though.

      Oh, Hi! had its premiere at the 2025 Sundance Film Festival.

      Grade: C