Film Review: People We Meet on Vacation (2026) - USA
Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 7/10
Rating: ★ ★ ★ 1/2
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A Sunny Postcard from the Heart - Director Brett Haley’s adaptation of author Emily Henry’s sun-bleached bestseller, "People We Meet on Vacation," arrives on our screens like a postcard slipped under the door – familiar, warm, and carrying the distinct scent of sunscreen and unspoken longing. It navigates the well-trodden path of the "best-friends-to-lovers" trope with such earnest charm and visual affection that its inherent predictability becomes less a flaw and more a comforting landmark on a scenic route. This isn't a film straining to reinvent the romantic comedy; it’s content to polish the wheel until it gleams, offering a genuinely satisfying, cozy escape for both devotees of Henry’s pages and weary souls seeking cinematic solace.
The engine of this vacation vehicle, without question, is the sparkling, lived-in chemistry between Emily Bader and Tom Blyth. Casting them as Poppy and Alex wasn't just smart; it felt like kismet. Bader embodies Poppy’s whirlwind, colorful energy – a woman seemingly powered by wanderlust and nervous laughter – but crucially avoids caricature. She lets us see the vulnerability beneath the bright patterns. Opposite her, Blyth is a revelation as Alex, the ostensibly "boring" anchor. He imbues the character with a quiet, grounding vulnerability and a watchful intelligence that makes his steadfastness magnetic, not milquetoast. Their polar-opposite dynamic isn't just believable; it feels inevitable. You witness it most powerfully in the flashbacks Haley weaves throughout the narrative. The awkwardness of their college meeting, the shared jokes, the simmering tension during the disastrous, pivotal trip to Tuscany – these moments crackle with an authenticity that transcends the script. They *feel* like people who have shared a decade of history, both joyous and painful.
Haley, whose gentle touch served "Hearts Beat Loud" so well, directs with a sun-drenched, nostalgic warmth. The film practically glows, capturing the specific magic of travel – the golden-hour light on unfamiliar streets, the slightly disheveled camaraderie of shared hotel rooms, the promise held in a departure lounge. He handles the decade-spanning, vacation-hopping timeline with admirable clarity, using distinct visual palettes and subtle shifts in the actors' demeanors to mark the passage of time. While the structure generally works, the middle act does succumb to a slight sag. The teasing out of the "Big Secret" behind their two-year silence feels protracted, a case where the source material's slower rhythm translates to a pacing hiccup on screen. It’s a minor detour, thankfully buoyed by the delightful supporting cast. Molly Shannon and Alan Ruck are perfectly pitched as Poppy's eccentric parents, and Lukas Gage provides a shot of pure, weirdo adrenaline as the scene-stealing Buck.
Where the film hits a minor patch of turbulence is in its final ascent. The journey from cherished friendship to the terrifying precipice of romantic love feels earned, a slow burn ignited by Bader and Blyth’s performances. However, the manufactured third-act conflict – the seemingly obligatory stumble before the embrace – feels slightly less organic than the beautiful messiness that preceded it. It’s a concession to formula that the film, up until that point, had gracefully sidestepped. Additionally, while locations like Barcelona are rendered with stunning, travel-brochure allure, a few of the secondary vacation spots lack the same tactile authenticity, occasionally veering into the realm of the suspiciously pristine, perhaps a casualty of budget or schedule against the demands of the globetrotting plot.
Yet, the verdict remains overwhelmingly sunny. “People We Meet on Vacation" is a comfort watch of the highest order. It understands the specific, delicious ache of loving someone so deeply you’d rather preserve the friendship than risk losing everything. It captures the bittersweet nostalgia of shared memories and the terrifying leap faith requires. It doesn’t possess the razor-sharp, genre-defying edge of a 90s rom-com giant, but in the often algorithmically chilly landscape of 2026 streaming, it stands out like a vibrant, heartfelt beacon. Haley has crafted a warm-hearted success, proving that sometimes, the most rewarding journeys are the ones taken with someone who feels like home, even when you're far from it. And in Tom Blyth and Emily Bader, Hollywood has found its next pair of undeniable crown jewels. (Neo, 2026)