Written and directed by Cooper Raiff
Starring Cooper Raiff, Dylan Gelula, Logan Miller and Amy Landecker
Running time: 1 hour and 40 minutes
MPAA rating: R for language throughout, sexual content and drug/alcohol use

by Emily Maesar

On the surface, Cooper Raiff’s Shithouse is basic. The bare bones description of the plot is that it’s about a college Freshman who goes to a party and meets a girl. They spend an intense weekend together that changes both of their lives. Now, that’s a totally normal breakdown of a coming-of-age college film, no doubt. However, what Shithouse proves is that just because you’ve seen the premise before, doesn’t mean the story isn’t worth your time. And I think Shithouse is absolutely worth everyone’s time.

Maybe you’ve seen a version of this film a million times, but I doubt you’ve seen this one. Those stories aren’t usually about guys like Alex (Cooper Raiff), who are just simply not adjusting to college life. In fact, stories about failing to find your place at university are few and far between, and, even then, they aren’t done with this kind of nuance.

Alex’s roommate Sam (Logan Miller) gets him to go to a party with him at Shithouse, a frat house on campus. While there he connects with his Residential Advice, Maggie (Dylan Gelula) and they end up hooking up and spending a whirlwind night together. It’s the kind of night where you think you’re invincible, that you can crack your heart open and reveal everything about yourself, and it’s the type of night that doesn’t feel like it’s gonna end.

Except it does. Alex, lonely as he is, doesn’t want this connection to go away. But Maggie’s defense mechanisms fly up and those two things are decidedly not compatible. I think people will feel for them both, I know I did. I’d been both of them at some point during my college career and, while it’s frustrating, both things are relatable and Raiff had written understanding and compassion into both. 

Okay, now I’ve gotta talk about the emotional bullet in Shithouse’s chamber for me that is Alex’s dad (and Maggie’s while we’re at it). While I don’t totally connect with the pain of not finding my place in college, though I’m beyond happy to see it represented, because I know many who would, I did become a card carrying member of the Dead Dad Club my freshman year. 

Let me just say that, while my relationship with my dad wasn’t Maggie-level bad, it wasn’t great. And then I was where Alex was. And like Alex, I think I’ve done a good job of emotionally handling it in the nearly ten years since, but sometimes you’re just playing basketball with ghosts. (That makes more sense in the context of the film.)

Now, to say that Cooper Raiff is ambitious is a bit of an understatement. Shithouse is his directorial debut, and he’s also credited as writer, producer, co-editor, not to mention the lead actor. The thought of wearing all those hats, especially in a first film, seems exhausting and like the result might not be as well done as it is… but Raiff is beyond accomplished. He steps up to the plate and hits all of them out of the park.

Real quick, I’ve gotta say that I’m the tiniest bit bias about this flick. My friend Autumn Dea was one of the editors, but even with that relationship I just have to say that she (and Raiff) did a damn fine job. I say that as a friend, sure, but also as someone who doesn’t pull punches in reviews. Get yourself some talent, creative friends, my dudes.

My only real criticism of the film is that the name makes it feel like something it’s not. While Shithouse is where everything really kicks off, it’s not even the only party all the characters go to over the course of the two main nights. “Shithouse” really titles this film as less of a soft, coming-of-age story and more of a possibly raunchy party movie. It’s so far towards the former that to even try and pitch this story as the latter is laughable. Ultimately, I’m hoping the name doesn’t turn anybody off - because this is a film that I think so many people will be able to find themselves and part of their lived experience in. 

In select theaters and on demand October 16th.