Movie Reviews
Movie Review – The Threesome (2025)
The Threesome, 2025.
Directed by Chad Hartigan.
Starring Zoey Deutch, Jonah Hauer-King, Ruby Cruz, Jaboukie Young-White, Josh Segarra, Robert Longstreet, Arden Myrin, Kristin Slaysman, Allan McLeod, Julia Sweeney, Tommy Do.
SYNOPSIS:
A young man’s perennial crush leads him into an unexpected threesome, he thinks it’s his ultimate fantasy come true. When the fantasy ends, all three are left with sobering real-world consequences, and to take responsibility for their actions.
There are two routes to take about a film where a good-natured man finds himself in the unexpected predicament that he is the father-to-be with two different women, and a situation in itself that partially sprung from a three-way: playing that premise as a straight romantic drama, or leaning into the absurdity of those odds for a romantic comedy. Titled The Threesome, this is a classic case of a director unsure of which direction to take, hoping that smashing the two tones together will work. For director Chad Hartigan and screenwriter Ethan Ogilby, it doesn’t come together.
For a while, it seems as though the filmmakers might pull it off. The story takes its time setting up its characters and establishing who they are, what they want, and their connection to one another. Connor Blake (a miscast Jonah Hauer-King, also given a bland mode for this material, but more about that later) is adept at articulating why partners are good for one another, as seen in the opening, delivering a speech for his best friend and gay newlywed Greg (Jaboukie Young-White), but his personal love life is directionless.
Connor still pines after longtime crush Olivia Capitano (Zoey Deutch, delivering excellent work in what also turns out to be the most complex role here), who isn’t that interested in him. Or maybe she is, and part of her is aware they would foresee their futures in a manner that isn’t mutually agreeable. There is also the factor that she has a push-pull attraction to bad boy Kevin (Josh Segarra), with whom she is trying her hardest to end things.
Olivia deals with these mixed emotions by interloping into a conversation between Connor and Jenny Brooks (Ruby Cruz), who has been stood up by a date at the bar where she and Greg work (following his best friend’s advice to try talking to new people). She begins to realize that perhaps she is taking his goodness for granted, stemming from how easily he chats up a stranger of the opposite sex and makes a friend. As a result, Olivia serves as a wingman for Connor. However, ultimately, the three return together and have sex together offscreen (because apparently, even a movie called The Threesome is sanitized in this modern sexless age of relatively mainstream American movies), which sets off a chain reaction of new dynamics between these characters that quickly detonates into something much more serious and life-changing.
After that night, Connor and Olivia start exploring the possibility of a serious relationship, which only becomes more serious when, after having sex again, he accidentally gets her pregnant. And while the shy, inexperienced, Christian-raised Jenny doesn’t regret the sexual experimentation and never necessarily had a reason to believe Connor would want a second date (although something about his ghosting doesn’t feel right, saying more about the depressing nature of modern dating than anything else), it turns out the morning shower sex they had when Olivia was gone also resulted in a pregnancy.
Across the three trimesters, Connor tries to do right by both Olivia and Jenny within relationship dynamics that change and evolve. Olivia questions whether or not she wants to keep the child, especially after learning about the previously mentioned morning sex behind her back, which she finds hurtful, even if they weren’t technically dating yet. She also still loves him and is wrestling with how society would perceive her if she took a man back who also plans to be a presence in the life of another child from another sexual partner. Meanwhile, Jenny’s religious upbringing comes into play; she herself is not that strict of a follower, but she is concerned about what her parents will think of her being somewhat of a single mother, faking a real relationship with Connor in front of them until the time feels right to tell the truth that it was more of a fling and that, although he plans to be there, they aren’t lovers.
This is all fascinating and relatively fresh dramatic material (shot with arresting cinematography by Sing Howe Yam, at one point observing a conversation between two characters with one of them reflected in a mirror on one side of the screen) that is consistently undermined by occasionally crossing over into situational humor or an unfortunate predictable twist that’s only serving to make the situation more messy rather than adding anything to the story.
It’s a lot like Connor himself, who is always annoyingly making inappropriate jokes, not maliciously, but as a coping defense mechanism. Sometimes, it comes across as a reflection of the filmmakers not knowing what to do with these characters and material other than gesturing at topicality regarding society. There is also a third-act situation that is begging for a full-blown comedic treatment, and even seems to be set up that way before abruptly reverting to shoddy drama. Even the attempts to humanize the religious aspects of Jenny’s family come across as halfhearted, as we never really get to know them or learn much about her.
The same could be said for Connor, who has an awful lot of free time to run around assisting two different women with doctor appointments, yoga sessions, and other preparations, since he happens to be a struggling musician, also given the bland personality of a person who does no wrong in dealing with his mistakes. He is portrayed as handsome and saintly, which also makes for dull given the chaotic scenario he is in.
It’s not that The Threesome comes across as dishonest, but rather too polished, with only Olivia’s character (and Zoey Deutch’s emotionally layered performance) cutting through to something poignant. There is a more interesting take on this narrative from her perspective, and presumably one with a stronger tonal balance.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder
https://www.youtube.com/watch?v=embed/playlist
Originally published December 27, 2025. Updated December 28, 2025.
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Movie Reviews
UNTIL DAWN Review
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot of UNTIL DAWN puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
Dominant Worldview and Other Worldview Content/Elements:
Strong humanist worldview that twists the concept of modern psychology into a supernatural hellscape with unexplained time loops and reoccurring nightmarish horror filled with excessive violence and gore, but with unexplained pagan supernatural elements (such as a storm circling a house, the appearance of more buildings, the time loop itself, and many more), the time loop perverts the laws of mortality and implies that the consequences of violence, murder, suicide, etc., don’t apply, the psychologist controlling the time loop discusses the situation with modern psychology in vague circles meant to confuse and disorient the nature of the reality in which the victims are trapped, religion or God is not explicitly discussed, but there’s an unexplained cross in front of a house that isn’t explained and a character references the belief that a possessed person cannot become possessed through contact but rather weakness of faith, and some occult content where one woman is a self-described psychic and is into “woo-woo” stuff as another character describes it, she tries to amplify her psychic abilities with help from the others by holding hands and meditation, and she often has strong feelings and seems to have a sense the others do not have, but no worship or symbols are shown, plus a girl dating a guy is said to have previously dated a girl as well as other men;
Foul Language:
At least 101 obscenities (including 62 “f” words), two strong profanities mentioning the name of Jesus, and four light profanities;
Violence:
Very severe violence and gratuitous blood and gore throughout including but not limited to dead bodies, monsters, scarred masked psychopath, stabbing, beating, and people spontaneously exploding;
Sex:
No sex shown, but a person puts on a VHS tape and a pornographic movie is heard playing briefly but not shown, and a woman is said to date a lot of people and one time dated another woman;
Nudity:
No nudity;
Alcohol Use:
No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
A psychologist is a callous antagonist whose motives are relatively unknown beyond having a morbid curiosity that led to awful experiments and playing games with other people, he purposely keeps people trapped for no known reason other than his sick and twisted observations that end in gruesome murder and unnecessary torture.
One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town. This place of unimaginable horrors traps them all in a horrifying time loop where they will be murdered again and again.
UNTIL DAWN is nicely shot and paced well, with believable performances, but it has a strong humanist worldview overall with some occult elements is filled with gruesome violence, gore, lots of strong foul language, and a time loop that leads to an increasing amount of horrific murder and unacceptable immoral actions for survival.
The movie begins with a woman named Melanie clawing her way through the dirt with an unknown monster chasing after her. Digging her way out, she looks up to a masked psychopath standing over her with a scythe. She begs him, “No! Please not again. I can’t!” He fatally stabs her without a thought. It cuts to the main title, and an hourglass is shown with a ticking clock sound and unsettling music.
Cut to a group pf people in a red car driving up a winding mountain, an obvious nod to THE SHINING. It’s been one year after Clover’s sister Melanie vanished without a trace. The group consists of Max, Nina, Megan, Abe, and Clover. Shortly after their mother died, Melanie had decided to start a new life in New York. Clover decided to stay, which created tension between the sisters before Melanie left.
Clover and her friends are looking for more information about her disappearance. Their last stop is the last place she was seen in a video message taken in front of a middle-of-nowhere gas station. Megan, a proclaimed psychic, wants to join hands outside and see if they can feel any mystical energy regarding Melanie. Their attempt is cut short when an RV blares its horn and almost hits them, scaring them all.
Clover goes inside the gas station for a cup of coffee while the others talk outside. Clover asks the man behind the register if he worked here last year. After confirming he’s been working there for years, she shows him a picture of Melanie from the video. He asks if she was missing and clarifies saying that Clover is not the first to come asking. When she asks if many people around here go missing, he says people “get in trouble” in Glore Valley. As their only lead, the group decides to go there and stick together.
Nervously driving to the valley in an increasingly dangerous storm, the group begins to question what they are doing. Suddenly the storm stops but is still raging behind them. They park in front of a house with a “Welcome Center” sign, with the storm circling around the area but leaving the house dry. Confused, they get out of the car and look around. Nina decides to see if there’s anyone inside so they can come up with a plan. Everyone goes in except Clover, who walks up to the strange rain wall.
Inside the house, they find a dated and dusty interior. The power and water don’t work, and they conclude that they are the first people to come there in years. There is a strange hourglass with a skull on the wall. Checking the guest book, Nina finds Melanie’s name signed multiple times, with increasingly shaky handwriting. In another room, Abe finds many missing posters with faces on a bulletin board and finds poster with Melanie’s face.
Outside, Clover thinks she sees a person in the rain. She also hears Melanie’s voice and runs after it. Concerned, Max calls after her and he pulls her back in. As Nina signs the guestbook, the sun suddenly sets and the clock starts ticking.
Inside the house now with the hourglass turned over, they try to understand what’s happening. The car is out in the rain now with someone revving the engine threateningly. Some of them go to the dark basement, where the lights don’t work. There is an eerie sense of dread as Abe goes to check out a noise, and Nina finds a scarred and masked psychopath standing in a room as the top half of Abe’s body falls to the ground.
Hearing the commotion upstairs, the others go to see what happened and Max spots the killer. They run to hide, and the apparently invincible psychopath horrifically stabs each of them as they try to fight back. The sand in the hourglass runs back, as each character returns to where they were when Nina originally signed the book (she now signs it a second time). They remember what had just taken place, and how they were all murdered. Clearly stuck in this time loop escape room situation, they will now have to figure out how to escape this terrifying hellscape as the situations get worse with every loop.
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
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