Movie Review: A dark comedy about modern dating in sharp, (knowingly) silly ‘Oh, Hi!'
We wonder what happened to the romantic comedy. Maybe we're all to blame. How can we have fun with stories about romance when it is so bleak out there? But thank goodness for the filmmakers who are trying to, if not make sense of it all, talk about it. Celine Song did it in her own way with 'Materialists.' And now comes Sophie Brooks' 'Oh, Hi!' about a new-ish couple on their first weekend away together. These movies are not at all similar, and yet both speak to the current mood in valuable ways.
In 'Oh, Hi!' Iris (Molly Gordon) and Isaac (Logan Lerman) seem to be very much in sync as a pair, singing in the car together, laughing about a little accident that results in the purchase of hundreds of strawberries and excitedly exploring the very nice house they've rented for this romantic getaway. The chemistry is there: There's humor, wit, conversation and attraction. They're even on the same page on more intimate matters. It is a terrific opening — nothing is really happening, and yet it's pleasant to just be in the moment with them.
But then things take a turn. We know they're headed south from the first frame, when a distraught Iris greets her friend Max (Geraldine Viswanathan) at the country home late one night. We're trained to expect that it's all leading to a fight, or a breakup. 'Oh, Hi!,' however, has other things up its sleeve.
Note to new couples: Best not to define a relationship while one is chained to the bed after a bit of experimentation. Granted, neither thought they needed to have this conversation, but it quickly becomes clear that they both heard things differently. Iris thought they were exclusive. Isaac thought it was perfectly clear that they weren't and aren't. But why, Iris asks, are they doing this at all after four months? Why are they on this trip? Why did he make her scallops? It's enough to make anyone go a little mad, which Iris does, deciding that she's going to keep Isaac chained up until they talk it through to her satisfaction.
It's a kind of over-the-top, 'Misery'-styled meditation on entrenched gender cliches in heterosexual dating. The women are crazy and needy. The men are jerks and aloof. And no amount of rational discussion on either side will end the stalemate. Iris believes that if he just gets to know her a little better, perhaps he'll change his mind. She goes long on her biography in a funny little sequence, but the monologuing doesn't help Isaac figure out how to escape. It just goes on.
'Oh, Hi!' follows this path to extreme ends as Iris involves Max and her boyfriend Kenny (John Reynolds), who are all trying to figure out how to get out of the situation without going to jail. It's admirable how ardently they commit to making this outlandish premise as realistic as possible.
The film loses the plot a bit when Max and Kenny get involved and things get extra silly. It might have been better had it stayed with Iris and Isaac to the bitter end. Gordon, who co-wrote the story with Brooks, is a huge reason it works at all. She somehow keeps Iris grounded and relatable throughout, which is no small feat after she makes her big mistake. At times, that epic misstep made me think that 'Oh, Hi!' might be the female 'Friendship.' And while Lerman gets substantially less to do, you come out feeling for both characters, trapped in anxieties of their own making and a social structure in which neither romance nor commitment seems to be a priority. At least this film lets us laugh about it a little bit.
And lest you think people in relationships have it easier, just wait until 'Together' arrives next week.
'Oh, Hi!' a Sony Pictures Classics release in theaters Friday, is rated R by the Motion Picture Association for 'language, sexual content and some nudity.' Running time: 94 minutes. Three stars out of four.
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National Observer
2 days ago
- National Observer
MOVIES: The summer's biggest film (probably) and a couple of small heartfelt gems
For weeks, it's been at the top of the list of films people are most anxious to see this summer. Now that The Fantastic Four: First Steps is here, its studio has a chance to do two things. Marvel can battle back against its rival, DC Studios and their big hit Superman. The other they'll deem more crucial: to dispel the charge that their movies have become repetitive and always the same. Even the fans are feeling Marvel fatigue according to many articles and much online chatter. My thoughts on the movie are below. Before that, notice two other new films: Samia and Oh, Hi. Both worth your attention. And also notice that three films that got high praise when they first came out have just started streaming on CRAVE. American Fiction is a satirical look at racial attitudes in the American literary scene. Hereditary is a spooky film starring Tony Collette and made by Ari Aster, whose new one, Eddington, is in theaters right now. And out of season there's The Best Christmas Pageant Ever, a very funny family film about a scramble to put on the show and fight prejudice. And new in theaters, we have … The Fantastic Four: First Steps: 3 stars Samia: 4 Oh, Hi: 3 ½ THE FANTASTIC FOUR: FIRST STEPS: I didn't read the comic books, but I understand they were groundbreaking when they started back in 1961. The characters argued, didn't just push a truth, justice and the American way ethos and even wrestled with the problems of celebrity. They didn't conceal their identity and had avid fans both inside their stories and among the readers. This is the fourth try at making a movie about them, after three weak efforts, one of which wasn't even officially released. This, finally, is a good one and honours them by going back to a simpler time. There's no politics or social change intruding, although it seems to be set in the 1960s and one cryptic comment may be about climate change. The action never gets overblown and frantic and the film plays comfortably with a retro feel. A quick crowded montage at the start sets up the situation. The four were flown into outer space and came back with their DNA rearranged and bearing alter egos. Reed Richards (by the very busy actor Pedro Pascal) is now also Mister Fantastic. Sue Storm (Vanessa Kirby) is also Invisible Woman, alongside Human Torch (Joseph Quinn) and The Thing (Ebon Moss-Bachrach). They argue like a family but also save the world when needed, which has to happen again when Silver Surfer (Julia Garner) arrives to announce that the earth is about to be 'swallowed' by the 'The Devourer', also known as Galactus. The team has to go back to space to look for him, even though Sue Storm is pregnant and gives birth along the way. Galactus demands the baby be given to him (something to do with one part of his plot). He's refused, and the child becomes a lure to get him to come down to earth for a final battle among New York skyscrapers, which he is as tall as. There's not much suspense to speak of, but easy-to-take action and a sunny mood from director Matt Shakman, who the fans will remember for Wanda Vision, the Marvel TV series he made. (In theaters everywhere) 3 out of 5 SAMIA: A repressive society. A woman determined to disobey the rules imposed on her. We've seen that story before, and will again, but here's a particularly good version of it. And it's all true, as far as we know, anyway. It comes from a true-life novel about a real person: Samia Yusuf Omar, who lived in the African nation of Somalia and dreamed of being a champion runner. 'I'll be the fastest runner in the world,' she says in the movie. We see her trying hard, running in the streets of Mogidishu as a small girl, then as a teen and then grown up and played by llham Mohamed Osman. Along with her story, we get a good history lesson about her country. She's warned it's dangerous out there and advised to stay home and 'stop being stupid.' She defies the rules, by running for one thing, by refusing to wear a veil for another. She is confronted by militia soldiers now and then with proclamations that wearing shorts and a tee-shirt is a sin. She kept at it though, secretly training at night, with a brother as coach and her father's encouragement. She got on to the national Olympics team, competed in Beijing and through most of the film is trying to get ready for the London Olympics. But there are setbacks and tragedies. She pays human traffickers to get her to Europe and that's a harrowing trip. She dies. How isn't exactly known, but based on the book by Giuseppe Catozzella we get a possible idea. (People in Vancouver might remember he came to the writer's festival there when he wrote the book). The film doesn't have her complete story, but it does give a very moving view of her willpower and bravery. It's sharply directed by Yasemin Samdereli. She's German, and the film is a co-production along with Belgium and Italy. It's powerful. (In theaters: Toronto now, Ottawa next week, Vancouver and Victoria soon) 4 out of 5 OH, HI: Romantic comedies are a mixed genre, but check this one out. It's not like the usual; it's innovative, takes chances and comes off very funny and smart. I have a few small caveats. They don't harm it though. A couple go off on a romantic weekend to a country house they've rented and things go off pretty fast. They find a set of bondage handcuffs and decide to play kinky, first with her (Molly Gordon) chained to the bed while he (Logan Lerman) comes on to her. Then the reverse. While he's chained, he tactlessly admits he's not looking for a lasting relationship. She's shocked. Feels rejected, leaves him chained up and gives him 12 hours to change his mind. Whenever she's out of the room, he strains to reach the key lying just out of reach. She, meanwhile, has invited a couple of friends (Geraldine Viswanathan, John Reynolds) and plays good host all the while hiding from them what's going on. The story isn't that special, but it is workable. What makes it shine is the dialogue that Gordon has co-written with the director, Sophie Brooks. The couple dole out what they want from each other. They ask each other about their early lives (a little too much because you'd think they'd already explored that since they've been dating for four months). They relish the similarities they turn up and suffer with the misunderstandings. He gets fed up and angry. Says he's been kidnapped and will report it to the police when he gets free. That just makes her resent him more. She accuses him of pursuing her in the first place. 'You made me like you,' she says. 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Globe and Mail
3 days ago
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Oh, Hi!: What happens when a rom com meets Misery
Oh, Hi! Directed by Sophie Brooks Written by Sophie Brooks, Molly Gordon Starring Molly Gordon, Logan Lerman Classification R; 93 minutes Oh, Hi! is what might actually happen if your approach to true love was tinted with Misery. After four perfect months together, Iris (Molly Gordon) and Isaac (Logan Lerman) embark on a relationship milestone and flee the big city to spend a romantic weekend at a rented farmhouse in upstate New York. Obviously, they're cute. They're happy. Isaac cooks scallops. Their banter is healthy, their sex life is fun. The two resemble a photo spread from a J. Crew catalogue at its peak: beautiful and tousled and unbothered by mosquitos at night. This is what it looks like when you've found your soulmate. At least that's what Iris thinks. Choosing the worst possible time, Isaac informs her that they're not exclusive. He doesn't want a relationship, and up until that point he didn't think they were serious. Iris, heartbroken, responds the way anybody would if they'd attended the school of Annie Wilkes. She holds Isaac captive in an attempt to convince him that he's actually in love. Positioned as a romantic comedy, Oh, Hi! is less Nora Ephron than I Think You Should Leave. Bizarre and deranged, its characters are chaotic, narcissistic and profoundly unwell. In fact, they're both terrifying: Iris is what happens when you apply fictionalized grand 'romantic' gestures to real-world situations, and Isaac seemingly lives by the ethos of a Weeknd song. Yet the film still works. Directed by Sophie Brooks and co-written by Gordon, it subverts both the rom-com and horror genres to produce an original story that thwarts predictability. Gordon is sharp, funny and brings just enough humanity to Iris that you feel sorry for her broken heart and terrible judgment – despite desperately hoping that you never meet her in real life. It also helps that she's aided by comedy gold: Geraldine Viswanathan and John Reynolds show up just in time to add levity and fresh perspectives to a premise that could easily get stale. Especially since Lerman plays an everyman whose sole personality is 'totally perfect, until not.' Is any of it believable? Relatable? Does it need to be? Hardly a Hallmark film, Oh, Hi! is a testimony to what happens when we pour creative energy into original storylines instead of the dark abyss of reboot culture. By blending romance and horror tropes, Brooks and Gordon highlight the ridiculousness that defines each and illuminate the toxicity sensationalized by the classics. (There's more than one Casablanca call-out involved.) The story isn't aspirational and its characters are mostly irredeemable, but it exposes the outlandish nature of most rom-com plot devices by committing to the most common: two characters who suck. Oh, Hi! is the last love story you want to cite when writing your own, and Iris and Isaac are the last people you would ever want to spend a weekend away with. But for 90 minutes in a movie theatre? Their company will at least keep your attention.
Winnipeg Free Press
4 days ago
- Winnipeg Free Press
Movie Review: A dark comedy about modern dating in sharp, (knowingly) silly ‘Oh, Hi!'
The modern dating scene is not a healthy one. Perhaps it never really was and everyone is nostalgic for something that didn't exist. But you don't need to be on the apps to sense the anxiety around. Just open the New York Times Magazine site and scroll through the 1,200 comments on Jean Garnett's 'The Trouble With Wanting Men,' in which she examines unfulfilled desire and the idea of 'heterofatalism.' We wonder what happened to the romantic comedy. Maybe we're all to blame. How can we have fun with stories about romance when it is so bleak out there? But thank goodness for the filmmakers who are trying to, if not make sense of it all, talk about it. Celine Song did it in her own way with 'Materialists.' And now comes Sophie Brooks' 'Oh, Hi!' about a new-ish couple on their first weekend away together. These movies are not at all similar, and yet both speak to the current mood in valuable ways. In 'Oh, Hi!' Iris (Molly Gordon) and Isaac (Logan Lerman) seem to be very much in sync as a pair, singing in the car together, laughing about a little accident that results in the purchase of hundreds of strawberries and excitedly exploring the very nice house they've rented for this romantic getaway. The chemistry is there: There's humor, wit, conversation and attraction. They're even on the same page on more intimate matters. It is a terrific opening — nothing is really happening, and yet it's pleasant to just be in the moment with them. But then things take a turn. We know they're headed south from the first frame, when a distraught Iris greets her friend Max (Geraldine Viswanathan) at the country home late one night. We're trained to expect that it's all leading to a fight, or a breakup. 'Oh, Hi!,' however, has other things up its sleeve. Note to new couples: Best not to define a relationship while one is chained to the bed after a bit of experimentation. Granted, neither thought they needed to have this conversation, but it quickly becomes clear that they both heard things differently. Iris thought they were exclusive. Isaac thought it was perfectly clear that they weren't and aren't. But why, Iris asks, are they doing this at all after four months? Why are they on this trip? Why did he make her scallops? It's enough to make anyone go a little mad, which Iris does, deciding that she's going to keep Isaac chained up until they talk it through to her satisfaction. It's a kind of over-the-top, 'Misery'-styled meditation on entrenched gender cliches in heterosexual dating. The women are crazy and needy. The men are jerks and aloof. And no amount of rational discussion on either side will end the stalemate. Iris believes that if he just gets to know her a little better, perhaps he'll change his mind. She goes long on her biography in a funny little sequence, but the monologuing doesn't help Isaac figure out how to escape. It just goes on. 'Oh, Hi!' follows this path to extreme ends as Iris involves Max and her boyfriend Kenny (John Reynolds), who are all trying to figure out how to get out of the situation without going to jail. It's admirable how ardently they commit to making this outlandish premise as realistic as possible. The film loses the plot a bit when Max and Kenny get involved and things get extra silly. It might have been better had it stayed with Iris and Isaac to the bitter end. Gordon, who co-wrote the story with Brooks, is a huge reason it works at all. She somehow keeps Iris grounded and relatable throughout, which is no small feat after she makes her big mistake. At times, that epic misstep made me think that 'Oh, Hi!' might be the female 'Friendship.' And while Lerman gets substantially less to do, you come out feeling for both characters, trapped in anxieties of their own making and a social structure in which neither romance nor commitment seems to be a priority. At least this film lets us laugh about it a little bit. And lest you think people in relationships have it easier, just wait until 'Together' arrives next week. 'Oh, Hi!' a Sony Pictures Classics release in theaters Friday, is rated R by the Motion Picture Association for 'language, sexual content and some nudity.' Running time: 94 minutes. Three stars out of four.
