The Threesome (2025) - Film Review

      The Threesome, 2025.

      Directed by Chad Hartigan.

      Featuring Zoey Deutch, Jonah Hauer-King, Ruby Cruz, Jaboukie Young-White, Josh Segarra, Robert Longstreet, Arden Myrin, Kristin Slaysman, Allan McLeod, Julia Sweeney, and Tommy Do.

      SYNOPSIS:

      A young man's enduring infatuation leads him into an unexpected threesome, which he believes fulfills his ultimate fantasy. However, when the fantasy fades, all three are confronted with stark real-world repercussions and must take accountability for their actions.

      There are two approaches to a film about a well-meaning man who finds himself in the unforeseen situation of becoming a father to two women, a scenario that partly arose from a three-way: treating the premise as a straightforward romantic drama or embracing the absurdity for a romantic comedy. Titled The Threesome, the film exemplifies a director's uncertainty about the right direction, attempting to blend the two tones, which ultimately does not succeed. For Chad Hartigan and screenwriter Ethan Ogilby, the fusion fails to materialize.

      Initially, it appears that the filmmakers might succeed. The narrative takes its time to establish the characters, their desires, and their interconnectedness. Connor Blake (played by Jonah Hauer-King, who is miscast and given a lackluster portrayal, but more on that later) articulates why partners complement each other, as seen in an opening speech for his best friend, gay newlywed Greg (Jaboukie Young-White). However, Connor's romantic life feels aimless.

      Connor is still infatuated with his long-time crush, Olivia Capitano (Zoey Deutch, who delivers an impressive performance in the most complex role), who shows little interest in him. Or perhaps she is interested but realizes their futures may not align. Additionally, she is attracted to bad boy Kevin (Josh Segarra), from whom she is trying to distance herself.

      Olivia processes these conflicting feelings by interrupting a conversation between Connor and Jenny Brooks (Ruby Cruz), who was stood up on a date at the bar where she and Greg work. Following Greg's advice to engage with new people, Jenny starts to see that she may be taking Connor's kindness for granted, given how easily he strikes up a conversation with a stranger. Consequently, Olivia becomes Connor's wingman. Ultimately, the three come together and share an intimate encounter offscreen (as even a film named The Threesome remains sanitized in the current age of mainstream American cinema), which triggers a cascade of new dynamics between them, quickly escalating into a more serious and life-altering situation.

      After that night, Connor and Olivia begin to consider a serious relationship, which intensifies when, after another intimate encounter, he accidentally gets her pregnant. Although shy and inexperienced Jenny has no regrets about the sexual exploration, she also didn’t expect Connor to want a second date, especially since his ghosting feels unsettling, reflecting the disheartening nature of modern dating. It turns out the morning shower sex with Connor, while Olivia was away, also led to pregnancy.

      Throughout the three trimesters, Connor strives to do right by both Olivia and Jenny as their relationship dynamics shift and evolve. Olivia grapples with whether to keep the baby, particularly after discovering the morning encounter behind her back, which she finds painful despite them not officially dating. She is still in love with Connor and contemplates societal perceptions of taking back a man who is also involved with another child. Meanwhile, Jenny’s religious background complicates things; while she is not a strict follower, she worries about her parents’ reactions to her being a sort-of single mother, pretending to have a real relationship with Connor until the right time to disclose the truth about their fling and his plans to be involved.

      This premise offers intriguing and relatively fresh dramatic material (captured with striking cinematography by Sing Howe Yam, notably during a scene reflecting one character’s conversation in a mirror) that is often undermined by a slip into situational humor or predictable twists that make the scenario messier rather than enriching the narrative.

      Connor himself is similar, often making inappropriate jokes, not out of malice, but as a defense mechanism for coping. This can make it seem as if the filmmakers are uncertain about how to handle these characters and themes beyond merely pointing to societal issues. There’s even a third-act scenario that seems ripe for full comedic exploration but suddenly shifts back to lackluster drama. The attempts to delve into the religious aspects of Jenny’s family feel half-hearted as we never truly get to know them or learn much about her background.

      The same applies to Connor, who seems to have ample free time to support two women with doctor appointments, yoga, and other preparations, as he is a struggling musician with an otherwise bland character who makes no real mistakes. He is portrayed as handsome and virtuous, which comes off as dull given the chaotic circumstances surrounding