The Cost of Being Wanted

Read Time:5 Minute, 2 Second

MOVIE REVIEWS
Daddies Boi
–

Genre: Comedy, Dark Comedy, Episodic
Year Released: 2025, 2026
Runtime: 15m
Director(s): Jason Avezzano
Writer(s): Louie Rinaldi, Zoe Tyson
Cast: Louie Rinaldi, Zoe Tyson, Todd Sherry, Milan Patel
Where to Watch: shown at the 2026 Slamdance Film Festival

RAVING REVIEW: Is there a difference between being stuck and choosing not to move forward? DADDIES BOI opens with a blunt awareness of the world it occupies. This is a space where relevance has a shelf life, youth is treated like a renewable resource, and anyone past a certain point is expected to either reinvent themselves or disappear altogether. Rather than softening that anxiety with irony or distance, the short confronts it using humor as both armor and confession.

At the center are Ozzie and Billie, best friends whose survival strategies had become unsustainable as time began to push back against them. Louie Rinaldi and Zoe Tyson share an immediate chemistry that never feels engineered purely for laughs. Their relationship functions as the emotional spine of the experience, grounding even its broader moments in something recognizably human. They’re funny together, but more importantly, they’re tired together. That exhaustion comes from shared history and an unspoken understanding of what it takes to keep each other afloat.

One of DADDIES BOI’s most focused instincts is its refusal to sanitize or sensationalize sex work. It isn’t framed as a moral dilemma that needs solving, nor is it presented as a glossy fantasy of empowerment without consequence. Instead, it treats the desire economy as exactly that: an economy governed by algorithms, competition, diminishing returns, and emotions that rarely return what they demand. The app at the center of the story isn’t a gimmick so much as a mirror, reflecting how value is assigned, traded, and discarded.

Jason Avezzano’s direction keeps the momentum steady without rushing past character growth. There’s a confidence in allowing moments to breathe just long enough to land, whether it’s a joke that cuts a little too close or a realization that sneaks in under the humor. The comedy works best when it’s allowed to bruise, and the story understands that naturally. Nothing feels padded, and nothing feels overly smoothed to make it more palatable.

Rinaldi’s performance as Ozzie is especially effective in how it handles vulnerability without turning it into pageantry. Ozzie isn’t positioned as a cautionary tale or a punchline, but as someone constantly negotiating how much of themselves is for sale and how much needs to stay protected. That tension runs through nearly every scene. Tyson’s Billie counters that energy with a different kind of desperation, rooted in debt, denial, and the quiet fear of being left behind. Together, they feel like two people running parallel races against the same clock.

The humor in DADDIES BOI is pointed but rarely cruel. Even when the moments lean into absurd or uncomfortable situations, it’s clear where the punchline is aimed. More often than not, the target is the system itself, the expectations placed on queer bodies, aging bodies, and anyone expected to monetize themselves endlessly without complaint. The story doesn’t pretend these pressures are new, but it articulates how technology and a culture of visibility have sharpened them.

Striking a balance between grit and gloss that mirrors its themes. Los Angeles isn’t romanticized, but it isn’t purely miserable either. It’s a place where opportunity and exploitation often coexist in the same moment. The nightlife, homes, and the in-between settings all feel lived-in, reinforcing the sense that these characters have been hustling long before the story begins.

There’s a density to the ideas being explored, and not every moment is about to be offered equal breathing room in the short format. Although honestly, this feels more like ambition than excess. DADDIES BOI trusts its audience to keep up, to connect dots without being spoon-fed, and to sit with discomfort rather than look away from it.

What ultimately makes everything work is the refusal to apologize for its perspective. It doesn’t shrink down to earn approval or smooth out its edges to widen its appeal. It knows exactly what to say and who it’s speaking to. That confidence allows humor and honesty to coexist without canceling each other out.

DADDIES BOI doesn’t just gesture at the themes it presents; it lives inside them. It’s messy, funny, uncomfortable, and refreshingly honest in ways that feel increasingly rare. By the time it ends, it’s clear this isn’t a concept shared just for effect. It’s a piece rooted in lived experience, sharpened by wit, and anchored by a friendship that feels earned rather than constructed.

Please visit https://linktr.ee/overlyhonestr for more reviews.

You can follow me on Letterboxd, Instagram, Twitter, and YouTube. My social media accounts can also be found on most platforms by searching for 'Overly Honest Reviews'.

I’m always happy to hear from my readers; please don't hesitate to say hello or send me any questions about movies.

[photo courtesy of STACKING DOLL PRODUCTIONS]

DISCLAIMER:
At Overly Honest Movie Reviews, we value honesty and transparency. Occasionally, we receive complimentary items for review, including DVDs, Blu-rays, CDs, Vinyl Records, Books, and more. We assure you that these arrangements do not influence our reviews, as we are committed to providing unbiased and sincere evaluations. We aim to help you make informed entertainment choices regardless of our relationship with distributors or producers.

Amazon Affiliate Links:
Additionally, this site contains Amazon affiliate links. If you purchase through these links, we may receive a commission. This affiliate arrangement does not affect our commitment to honest reviews and helps support our site. We appreciate your trust and support as you navigate these links.