Oh, Hi!

Posted on July 24, 2025 at 12:39 pm

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for sexual content/some nudity, and language
Profanity:	Very strong language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Non-consensual confinement, accident with broken bone
Diversity Issues:	None
Date Released to Theaters:	July 25, 2025

“Oh, Hi!” has four exceptionally appealing young actors who make the most of an uneven script from writer/director Sophie Brooks. The set-up is universally familiar: the searing combination of humiliation, self-doubt and fury when learning that the person you trusted does not match your feelings about the relationship or indeed the absence thereof.

As the movie starts, Iris (Molly Gordon), clearly very upset, answers the door to let in her friend, Max (Geraldine Viswanathan), confessing that she has done something bad.

Then we go back in time to 33 hours before. Iris and Isaac (Logan Lerman), her boyfriend of a few months, are driving to their first weekend getaway in the countryside. Their spirits are high, singing along to “Islands in the Stream” and stopping at a farm stand to buy strawberries. A hint of possible problems — he knocks over the farm stand and they end up having to buy all the strawberries. Still, all goes well at first as they are delighted with each other and with the house they have rented for the weekend. Isaac prepares a marvelous dinner, they have marvelous sex, and it is understandable why Iris thinks they feel the same way about each other, especially after they discover some bondage equipment in the home’s closet and decide to give it a try. They have sex again, this time with Isaac splayed and bound to the bedposts.

And then, in the rosy afterglow, Isaac confesses that he is not exclusive with her and considers them as just “having fun.” Iris makes the mistake of Googling what to do, and then she makes the bigger mistake of telling Isaac she is going to keep him bound to the bedposts for 12 hours to prove to him that he should be in love with her. So, she starts demonstrating how lovable she is and he starts pretending to go along with her.

Iris calls her ride or die friend Max for help. Max arrives with her affable boyfriend, Kenny (John Reynolds). Iris has backed herself into a corner and so has Brooks. This shift into a rom-com version of “Misery” is not entirely successful, and the execution of this section of the film is tonally messy. The premise is intriguing but the movie cannot decide whether it wants to be creepy or funny and is not especially either.

Molly Gordon is always utterly captivating on screen. Beyond her considerable talent as an actor and wrier (“Theater Camp”), she has impeccable comic timing. A lot of the movie depends on her considerable appeal and she is never less than watchable, but even she cannot figure out how to make this work. The same is true of Lerman, who does his best but cannot quite show whether Isaac is either too clueless to understand the signals he is sending to Iris or too heartless to tell her the truth. None of the conversation with Max and Kenny makes much sense. David Cross has a couple of brief moments as a neighbor who is weird but less creepy than he originally appears.

The cast is great, the concept has potential, but, like Iris with Isaac, we are disappointed to find it is less than we expect.

Parents should know that this movie has very strong language, nudity and explicit sexual references and situations. Characters drink alcohol and there is discussion of bondage and possible murder. A character is injured.

Family discussion: Should Isaac have been clearer about his feelings? Should Iris have been clearer about her expectations? Who would you call for help as Molly called Max?

If you like this, try: Molly Gordon’s “Theater Camp”

Theater Camp

Posted on July 13, 2023 at 5:53 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some strong language, suggestive material, and /drug references
Profanity:	Some strong anguage
Alcohol/ Drugs:	None
Violence/ Scariness:	None
Diversity Issues:	None
Date Released to Theaters:	July 14, 2023

“Theater Camp” is a true labor of love from people who are former theater kids. They love the children who somehow know from birth that they were born to be performers, and seem to bypass the world of Raffi, JoJo, pop, and rock but know all of the songs from Rodgers and Hammerstein, Andrew Lloyd Webber, and Stephen Sondheim by the time when they’re still collecting from the tooth fairy.

Molly Gordon (“Broken Hearts Gallery”), Ben Platt (“Dear Evan Hanson” and “Pitch Perfect”), Noah Galvin (“The Real O’Neals”) and Nick Lieberman clearly know and love the world of theater kids, so the humor is pointed but affectionate. The passion for performance in both the kids and the adults who teach them is sometimes over the top, but the film is clear that it is these special people who can “turn cardboard into gold.” And at the heart of the film is what someone says near the end: theater camp is a place for people who are not accepted anyplace else.

The camp is called AdirondACTS and it is owned by Joan Rubinsky (Amy Sederis) and managed by Rita Cohen (Caroline Aaron of “The Marvelous Mrs. Maisel”). They are good at scrambling to get enough campers and enough money to keep it going (“I know he’s awful and tone deaf but his father is rich”) until Joan has a seizure at a grade school production of “Bye Bye Birdie” (one of the film’s weakest ideas). She is in a coma and so her son Troy (Jimmy Tatro) has to take over. He as very much not a theater kid and he is not a business guy, either. The snooty rich kid camp sees this as an opportunity, and their representative (Patti Harrison) makes an offer to take it over.

The camp teachers include alumnae Amos (Tony winner Platt) and Rebecca-Diane (Gordon), whose ultra-close friendship is getting claustrophobic. Each year, they create an original musical for the campers to put on, and this year it will be “Joan, Still,” a tribute to the camp founder. There are also other productions, including a junior version of “The Crucible.” And there is an exhausted tech (a terrific Noah Galvin) and a teacher assigned to cover everything from masks to stage combat even though she has no idea about any of it and lied on her resume (a game Ayo Edebiri).

The film gently points at the pretensions and dysfunctions in the world of theater kids and adults, but it reminds us that they really do turn cardboard into gold throughout, especially with a final musical number that is at the same time rousing, hilarious, and heartwarming.

Parents should know that this movie has some strong language, a drug reference involving children, and some mild sexual references.

Family discussion: Why did Amos call himself a performer working full-time as a teacher? Why didn’t Rebecca-Diane tell him what she was doing? What is the best part of being in a show?

If you like this, try: “Camp,” “Magic Camp,” and “Waiting for Guffman”

Good Boys

Posted on August 15, 2019 at 5:36 pm

Lowest Recommended Age:	Adult
MPAA Rating:	Rated R for strong crude sexual content, drug and alcohol material, and language throughout - all involving tweens
Profanity:	Very explicit, profane, and crude language used by young adults and 6th graders
Alcohol/ Drugs:	Drugs and alcohol use by young adults and 6th graders, drug dealing
Violence/ Scariness:	Extended peril with one gross injury, no one badly hurt
Diversity Issues:	None
Date Released to Theaters:	August 16, 2019
Date Released to DVD:	November 11, 2019

If I could, I’d give “Good Boys” three different grades. I’d give it a B+ for the sweet, smart depiction of that stage of life — equally exhilarating and excruciating — when we make the thrilling, terrifying, transition from child to adult. I’d give it a B for the fun of the adventure the boys go on when they are trying to replace an expensive drone they broke trying to spy on a girl and her boyfriend. But I would give it a D for the cheapness of its humor, relying so heavily on 6th graders using the F word, trying beer and porn, buying drugs, and not understanding the cache of sex toys they find. I don’t find that funny. So, overall, I am not recommending this film. But I will give it credit for the parts that work, and recommend it only for anyone who finds it hilarious to see a child with a ball gag in his mouth — because two other children are trying to re-set his dislocated shoulder on their way to buying molly from some dealer in a fraternity.

The most significant conversation in the film is when a 6th grader is listening to two teenage girls who are close friends and realizes that they have only known each other a few years. He learns for the first time that the friends you make in grade school may not be the friends you have forever, and like so many revelations at that stage of life, this discovery is deeply disconcerting but also intriguing, opening up a whole new world of possibilities — and risks.

Max (Jacob Tremblay), Lucas (Keith L. Williams), and Thor (Brady Noon) are best, best friends who call themselves the Bean Bag Boys. They do everything together and believe they always will. But one element of this stage of life is that any given 6th grader will go back and forth across the line between sophistication and abstract reasoning and a growing awareness of how much they don’t know (and how much even the adults around them don’t know) back to the more childish perspective. These are kids who have been lectured at school about the importance of consent but are not entirely clear on what it is that is being consented to. At this age, the people you feel close to are at a million different points along that continuum as well, so maybe you don’t feel as close to them anymore. As one of them acknowledges, hormones are making them crazy. The movie opens with him using a video game to expand the boobs of an avatar so he can masturbate — until then his father (Will Forte) comes in, sees what is happening, and congratulates his son for growing up.

Dad goes out of town warning his son not to touch the valuable drone he has for his work. But when Max desperately needs to learn how to kiss because he is invited to his first kissing party and the girl he loves and plans to marry but has not yet spoken to will be there and if he does not go and kiss her then life will have no meaning, he decides using the drone to spy on the teenage girl and her college age boyfriend is the answer to his problem. This is after he and the other Bean Bag Boys try doing a Google search for porn and discover it does not have much kissing. The girl is Hannah (Molly Gordon) and she and her best friend (Midori Francis as Lily) refuse to give it back. The boys take Hannah’s purse, which has some molly in a children’s vitamin bottle. (One of the movie’s funniest running jokes is the inability of the boys to open a child guard cap.)

And so the adventure begins, with the boys needing to get or replace the drone and the girls needing to get back or replace the drugs.

There are many sweet and funny moments, and the kids are great. There are wonderfully telling details, like the school anti-bullying squad. But the film cannot overcome the unpleasantness of the cheap humor and the sinking feeling that the filmmaking experience itself merits a visit from Child Protective Services.

Parents should know that this is a story about 6th graders that includes extremely raunchy, explicit material involving very crude and graphic sexual content, drugs and alcohol, some mild peril and violence, and very strong and crude language.

Family discussion: Who are your beanbag boys? What made them friends? Why did Thor decide not to audition?

If you like this, try: “Superbad” and “Pineapple Express”