In the world of dating apps and situationships, genuine connection seems harder than ever. With the release of “Materialists” just last month, the tribulations of modern dating have been reintroduced to the silver screen. In “Oh, Hi!” director Sophie Brooks straddles the line between rom-com and screwball horror. Her co-writer, Molly Gordon, known for her role in “Theater Camp” and “Booksmart,” is also no stranger to comedies, and her contributions shine through the film’s wry humor.
Cold opening with a haunting scene of Gordon’s character Iris pleading for help, the film cuts to Iris and Issac’s romantic drive to High Falls. Even at the film’s onset, there are subtleties of disagreements and trouble with Isaac’s wandering eye. The two actors seem to have a natural compatibility explored on screen, and the film successfully resists the cliché montage that plagues many modern rom-coms.
The writers don’t skimp out on the duo’s conversations, and the audience gets to spend time learning about these characters, perhaps to make their actions later in the movie more sympathetic. They have their classic rom-com moments: belting Dolly Parton in the car, soft conversations over candlelit dinners and lounging at the lake.
However, after discovering handcuffs left by the house’s owners, the couple decides to have some fun — until Issac reveals that he doesn’t want a relationship. At that, Iris refuses to remove the handcuffs, and instead, asks him to give her 12 hours to convince him why they would be perfect together.
The screenplay’s focus on confinement relates to its conception during the COVID-19 pandemic; Brooks’ agent suggested she create a storyline that could be filmed with the COVID restrictions. It’s a modern dating take on the cabin in the woods, a Hollywood classic of both romantic getaways and masked killers.
The film’s quiet moments are what create understanding for Iris and her desire to be loved. An extended scene of Iris unsettlingly coating slices of bread in milk as she mumbles to herself, trying to recall whether Isaac likes French toast offers brief glimpses of humorous relatability.
Gordon’s performance compels the audience to empathize with her character. It would have been easy to reduce Iris to the crazy girlfriend archetype, but Gordon brings nuance to the role, inviting the audience to connect with her and the raw vulnerability that comes with rejection.
The movie dissects visceral human impulses and offers some thoughtful insights on the current nature of relationships and situationship culture. Unfortunately, the ending is a bit messy and inconsequential. Iris’ antics slide a little too far into the screwball comedy, and the film’s ending lacks the meaning and social commentary promised by the initial scenes.
Despite this, the movie remains an entertaining, irreverent comedy. If you’re looking for a campy, relatable film, go see “Oh, Hi!” in theaters July 25.