When it comes to romantic comedies, timing can be everything. Released just as winter's chill settles in and many of us find ourselves dreaming of an escape, Netflix’s new film, "People We Meet on Vacation", arrives at a strategic moment. This early January release, part of the streaming service's collaboration with Sony, showcases some polished production values—think proper lighting and appealing visuals. As I listened to Polo & Pan’s soothing track "Nana" play over a picturesque scene of our lead character basking on a beach, I felt ready to unwind alongside her. However, this brief retreat quickly turned into a rather lackluster journey.
The film is based on Emily Henry’s beloved 2021 novel, and while it checks off all the expected boxes for a romcom—sparkling eyes, an unrealistic career for the protagonist given today’s economic climate, and a soundtrack featuring a more budget-friendly Taylor Swift song—it ultimately lacks any real emotional depth. We’re left with nothing to invest in, no characters to root for, and a storyline that seems like a faint echo of countless others we’ve encountered before. The most fitting comparison might be the classic "When Harry Met Sally," which chronicles the evolution of friendship into romance over a significant span of time. Yet, what felt authentic and relatable in 1989 now appears contrived and hollow in 2026, marking a disappointing start to the year for a genre that many of us continue to hold out hope for.
This is particularly unfortunate because the central idea behind the film has potential—especially in an era where fresh romcom concepts seem scarce. Our leads, Alex and Poppy, portrayed by Tom Blyth from "The Hunger Games" and rising star Emily Bader, make a pact after their first road trip: no matter where life takes them, they will vacation together annually. The narrative weaves back and forth between their past vacations, reminiscent of the storytelling style in "One Day," and the present, where Poppy prepares to reunite with Alex at his brother’s wedding in Barcelona. This structure could create a rich tapestry of memories, each marked by a location that reflects their evolving identities. Unfortunately, the actual details of their travels lack substance, presenting us instead with overly familiar and clumsily executed scenarios, such as karaoke sessions, pretending to be married, and comedic mishaps involving lost clothing during skinny-dipping. Any potential for clever banter akin to that of iconic characters Meg and Billy is abandoned almost immediately during their initial car ride.
Poppy comes across as more of a compilation of tired romcom tropes than a fully realized character. She embodies the clichéd traits of being clumsy, disorganized, perpetually late, and adventurous, which sharply contrasts with Alex’s cautious, rule-abiding nature. While opposites attracting can certainly spark chemistry in great romcoms, this particular pairing feels forced and unconvincing. Poppy’s supposed “adorable” quirkiness feels manufactured and awkwardly exaggerated, so when she finally begins to grapple with deeper feelings in the film's climax—such as the search for belonging amidst constant travel and the extent to which one should compromise for love—the emotional resonance falls flat, as the audience struggles to see her as anything beyond a mere caricature. Despite Bader showing glimpses of potential that suggest she could excel in a more nuanced role, her performance here feels lacking in authenticity, especially when contrasted with Blyth's strangely muted presence. A brief appearance by Molly Shannon and Alan Ruck as Poppy’s parents injects a delightful charm into the film, making their absence throughout the remainder of the story feel all the more regrettable.
The screenplay, crafted by romance novelist Yulin Kuang along with Amos Vernon and Nunzio Randazzo, fails to convincingly justify why Alex and Poppy don't simply embrace their connection right away. Each delayed realization feels as awkward as the attempts at humor scattered throughout the plot. This is particularly disappointing for director Brett Haley, who previously infused genuine warmth and emotion into his 2018 film "Hearts Beat Loud". Since then, he seems to have been caught in the constraints of Netflix’s young adult genre, delivering two lackluster films—"All the Bright Places" and "All Together Now"—and now adding this one to the mix, resulting in a frustrating trio of missteps. It’s a story about adventure and romance that should provide a lighthearted escape for those of us yearning for it at this moment. So why does it feel like such a chore to watch?
- "People We Meet on Vacation" is available for streaming on Netflix starting January 9.
