Film Review – The Threesome (2025)

      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 long-standing crush leads him to an unanticipated threesome that he believes is the fulfillment of his ultimate fantasy. However, when this fantasy concludes, all three individuals are confronted with sobering real-world repercussions and must take responsibility for their actions.

      There are two perspectives to consider regarding a film in which a good-natured man finds himself unexpectedly expecting a child with two different women, a situation partly stemming from a three-way: playing this premise as a straightforward romantic drama or embracing the absurdity for a romantic comedy. Titled The Threesome, this situation represents a classic case of a director unsure of the path to follow, attempting to blend the two tones in hopes that it will succeed. Unfortunately, for director Chad Hartigan and screenwriter Ethan Ogilby, it fails to coalesce.

      Initially, it appears as though the filmmakers might succeed. The narrative takes its time to set up the characters and clarify their desires and connections. Connor Blake (portrayed by a miscast Jonah Hauer-King, who is given a rather bland characterization, but more on that later) articulates well why partners are good for each other, as demonstrated in the opening when he gives a speech for his best friend and gay newlywed Greg (Jaboukie Young-White). However, his own love life lacks direction.

      Connor continues to yearn for his long-time crush, Olivia Capitano (Zoey Deutch, delivering strong performance in what ultimately becomes the most nuanced role), who doesn’t seem too keen on him. Or perhaps she is interested, but part of her knows their future visions wouldn’t align. Additionally, she grapples with an attraction to the rebellious Kevin (Josh Segarra), with whom she is trying hard to end things.

      To manage her conflicted feelings, Olivia interrupts a conversation between Connor and Jenny Brooks (Ruby Cruz), who has been stood up by a date at the bar where she and Greg work (following her best friend's advice to try meeting new people). She begins to realize that she may be taking Connor's kindness for granted, as he easily strikes up a conversation with a stranger and makes a connection. Consequently, Olivia plays the part of a wingman for Connor. Ultimately, the three come together and engage in a sexual encounter offscreen (because, apparently, even a film titled The Threesome is sanitized in this current era of relatively mainstream American cinema), which triggers a series of new dynamics that quickly escalate into significantly altering their lives.

      After that night, Connor and Olivia start to explore the prospect of a serious relationship, which intensifies when their subsequent sexual encounter leads to an accidental pregnancy. Meanwhile, the shy, inexperienced, Christian-raised Jenny doesn’t regret the sexual exploration but never deemed it necessary to believe Connor would want a second date (even though his ghosting feels off, reflecting the disheartening state of modern dating). It turns out their morning shower sex while Olivia was absent also resulted in a pregnancy.

      Throughout the three trimesters, Connor attempts to do right by both Olivia and Jenny amidst evolving relationship dynamics. Olivia grapples with whether to keep the child, particularly after discovering the previously mentioned morning encounter, which she finds hurtful despite not being officially in a relationship at that time. She still loves him but struggles with societal judgments if she accepts a man back who also plans to be involved with a child from another partner. Meanwhile, Jenny's religious upbringing plays a role; she is not very strict in her faith but worries about her parents' perceptions of her as a single mother, crafting a facade of a genuine relationship with Connor until the moment feels appropriate to reveal that it was mostly a fling and that, despite his intentions, they aren’t romantically involved.

      This intriguing and relatively fresh dramatic material (shot with striking cinematography by Sing Howe Yam, which at one point captures a conversation between two characters with one reflected in a mirror on one side of the screen) is frequently undermined by moments that veer into situational comedy or an unfortunate predictable twist that complicates the storyline without adding depth.

      Connor himself embodies this, often making inappropriate jokes—not out of malice, but as a coping mechanism. At times, this reflects a lack of direction from the filmmakers regarding these characters and material beyond hinting at societal themes. A third-act scenario seems ripe for a comedic treatment, appearing to be set up for humor before abruptly shifting back to weak drama. Furthermore, attempts to humanize Jenny’s religious family come across as half-hearted, as we don’t gain a clear understanding of them or learn much