Films for Breakfast

Relationships can make anyone feel a little unhinged. But imagine being in what feels like a perfect relationship for a few months – only to have your partner casually admit, during an intimate moment, that they didn’t realize you two were exclusive and that they have been actively seeing other people. That’s the setup for Sophie Brooks’ Oh, Hi!, a film that plays like Misery reimagined through the lens of a modern-day situationship. What sets it apart from being a full-on horror/thriller is its lead, Iris (Molly Gordon), a hopeless romantic who genuinely believes that cuffing her “boyfriend” (a term he wouldn’t use) Isaac (Logan Lerman) to a bed and spending twelve hours convincing him they belong together is a perfectly reasonable plan.

The film often feels like it’s teetering on the edge of not quite working. Iris’ plan is so blatantly unhinged that it stretches plausibility at times – it’s a tough sell to believe any rational person would actually go through with it. And yet, the film does an effective job of grounding their relationship in the first act. You live alongside Isaac and Iris, watching how naturally they click and how committed they seem. In that sense, Iris isn’t delusional – she’s right. Isaac treats their relationship like it’s exclusive. The film also cleverly plants subtle red flags in his character early on, from his guardedness about emotions to his reluctance to discuss past relationships.

Is it a little unbelievable that we’re meant to root for Iris as she cuffs Isaac to a bed for at least 12 hours to convince him to commit? Absolutely. But does that make the film any less relatable in capturing how relationships can make us feel completely unhinged – especially in today’s world of emotional ambiguity, ghosting, and non-commitment? Not at all. A big reason this all works is Molly Gordon’s committed performance. Gordon is a rising star at the moment, and here she walks a fine line between unhinged and genuinely endearing with remarkable ease. Even when Iris is clearly in the wrong, Gordon brings such warmth and vulnerability to the role that you can’t help but root for her to somehow make it through unscathed.

Sophie Brooks’ direction is another standout. While this isn’t her directorial debut, she’s a young filmmaker who displays real command of her craft. She handles the film’s tense, argumentative moments with a heightened, assured touch, while also excelling in its romantic beats. The film goes out of its way to make you feel for these two characters, and Brooks ensures their chemistry is both palpable and endearing. The soundtrack pairs beautifully with the tone, and Conor Murphy’s cinematography skillfully makes the small-scale setting feel alternately nightmarish or tender, depending on the emotional current of the scene.

Without giving too much away, the film does a strong job of sustaining its small-scale premise across its brisk 94-minute runtime. A rotating cast of supporting characters helps keep the energy up, and Logan Lerman is particularly effective – charming enough that you believe in their connection, but flawed enough that you understand Iris’ frustration. The tone walks a careful line between romantic comedy and psychological thriller, with moments of escalating tension that flirt with horror without ever fully tipping over. It’s not a perfect balancing act, but it’s consistently engaging. And when it comes time to land the plane, the film wraps things up with surprising sincerity and emotional maturity.