Oh, Hi!: What happens when a rom com meets Misery
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.
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CBC
29-07-2025
- CBC
The most memorable moments from the Weeknd's larger-than-life Toronto show
The Weeknd was in impeccable form on the second night of four sold-out tour stops at Toronto's Rogers Centre. Buoyed by the adoration of the 40,000-person crowd, Abel Tesfaye, a.k.a. the Weeknd, was beaming while he ran through a medley of songs from his extensive discography. Chants of "Abel, Abel, Abel!" rippled through the crowd at every song break, and the star stood smiling, basking in the love. Between Starboy and Heartless, the Weeknd took time to thank the audience for their fervent cheering: "That may have been a warmer welcome than yesterday…. We did the show last night and last night was loud but I got a big feeling about tonight, man." He continued, getting sentimental: "I just want to take in this moment right now. This has been a dream for a very long time, I used to come watch Blue Jays games here, it's crazy. Who knew a kid from Scarborough could do this, man, thank you guys so much." The Weeknd's After Hours 'til Dawn tour began in 2022, touching down in Toronto for two nights that year. The 2025 iteration includes the addition of new set pieces and new songs from his January album, Hurry Up Tomorrow, plus two extra nights of performances on Aug. 7 and 8. Hip-hop super producer Mike Dean kicked off the July 28 concert with a quick opening set, and came back to play keyboards and synthesizers during the Weeknd's marathon performance later in the night. Montreal DJ and producer Kaytranada played a mix of songs from across his three albums — 99.9%, Bubba and Timeless — plus his crowd-pleasing remixes of Janet Jackson's If and Chance the Rapper's All Night, before asking the crowd if they were "ready to see Abel." The Weeknd opened his set with The Abyss, a song featuring Lana Del Rey from his latest album. His voice filled the stadium as he emerged from behind veiled dancers, singing, "I tried to be something that I'll never be/ why waste another precious hour?/ Why waste another precious ounce?/ I'd rather leave somewhat of a legacy." The following two-hour-and-20-minute concert proved that he has no need to worry about what legacy he'll leave behind. Hometown highlights Toronto played a starring role in the show as the Weeknd performed directly below the looming CN Tower, which he referred to as one of the "centrepieces" of his elaborate set. The funky bassline of Sacrifice rang out as he sang, "I was born in a city/ where the winter nights don't ever sleep," and followed the lyric by yelling joyously, "You know what city that is!" He shouted out Toronto at every opportunity, and switched lyrics in a number of songs to turn the city itself into his love interest: "I can't lose you Toronto" on Lost in the Fire and "Every time I try to leave you Toronto/ you keep pulling me back" on Given Up on Me were just a couple of those moments. The Weeknd even used his captive audience to launch a petition to change the Rogers Centre back to its original name: "Is there any way to call this place the SkyDome again? We gotta call Mr. Rogers or whoever owns this place … do you agree with me, Toronto, or what?" The crowd cheered loudly in agreement and he replied, "All right, those are all official petition signatures. That's 40,000 signatures right there." Hits on hits After almost 15 years releasing music, the Weeknd has so many hits that any of them could've been the peak moment of his set. Early on in the show he performed Take My Breath, off 2022's Dawn FM, and as Mike Dean's synths and the bass reverberated through the crowd, the light-up bracelets that all attendees received upon entry were activated. Red-and-white lights raced along the catwalk as the Weeknd whipped himself into a frenzy. The audience was truly blinded by the lights during his performance of the record-breaking hit Blinding Lights, as the bracelets created a twinkling universe that swept across the stadium. Two of the Weeknd's oldest songs, throwbacks to his 2011 debut mixtape, came at the tail end of the set: High for This was a major sing-along moment, and the already revved-up crowd was rapturous at the first hint that House of Balloons was about to begin — the telltale "Ohs" and slinking bassline a beacon for the "OG XO fans." A feast for the eyes and ears The Weeknd's known for sounding exactly like the record during his live performances, and his vocal chops did not disappoint — but they're not the only impressive part of the show. World-building is just as important to him, which makes sense for an artist who pulls so much influence from film, and the set pieces and visuals were a feast for the eyes. The veiled dancers were decked out in a striking shade of red and wore gold masks, providing visual drama with their contemporary dance movements and formations. The Weeknd was also adorned in a gold mask of his own, this one with glowing silver eyes, and he wore a glittering black-and-gold cape that would put a wrestler to shame. Along with his dancers, he performed among the ruins of an imagined metropolis, the Empire State Building and the White House recognizable amid the wreckage. In the centre of the cross-shaped catwalk a golden statue rose to the heavens, her powerful stance evoking the goddesses Athena or Nike. The graphics on the screen behind him helped weave the narratives of his songs together, and included artwork resembling a Renaissance fresco, as well as a beheaded sculpture, a red-and-orange aurora — and the Weeknd falling into the abyss of a red sea. Taking a page from his former collaborators Daft Punk, the Weeknd created his own rave, leaning heavily on lasers that flooded the stadium and pulsated to the beat of the synths and drums. The pyrotechnics budget for the show had to be astronomical. The entire stadium was lit up in jumbo flames on no fewer than four occasions — it was like the Weeknd was bathed in a rain of fire — and fireworks burst from the Rogers Centre's open roof during Sacrifice and the final song, Moth to a Flame. 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National Observer
25-07-2025
- 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. What women need in a relationship comes up when she talks with her friend, as do more erudite matters like evolution. A detour into the subject of witchcraft is out of place, but the rest of the film is a smart contemplation of dating and male-female relations today. Both Gordon and Lerman are terrific as the characters they play. (In theaters) 3 ½ out of 5
Globe and Mail
24-07-2025
- Globe and Mail
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.
