Adapted from Emily Henry’s hugely popular novel, People We Meet on Vacation arrives on Netflix with all the ingredients of a comforting romantic comedy. Directed by Brett Haley and starring Emily Bader and Tom Blyth, the film is clearly designed as a cosy, escapist watch — full of sunlit locations, familiar tropes and gentle humour. While it succeeds as an easy distraction, it struggles to create the emotional resonance that allows great romcoms to stay with audiences long after the credits roll.
The story centres on Poppy, a successful travel writer who appears to be living a dream life filled with exotic destinations and enviable adventures, and Alex, her complete opposite — steady, cautious and deeply rooted in routine. After meeting during their college years, the two form an unusual tradition: one vacation together every year. Over nearly a decade, these trips become a backdrop for unresolved feelings, missed timing and emotional avoidance. When they reconnect after a long fallout to attend a wedding, the narrative jumps between their past travels and the present, gradually steering toward a romantic resolution that is evident from the outset.
Rather than being undermined by predictability, the film’s biggest weakness lies in how mechanically it follows the genre playbook. Romantic comedies often rely on familiarity, but here the emotional beats feel checked off rather than organically earned. The relationship develops through a series of expected moments — lingering looks, unspoken confessions and delayed realizations — without ever fully immersing the viewer in the characters’ inner lives.
Where the film does succeed is in its overall comfort factor. Emily Bader and Tom Blyth share a warm, understated chemistry that keeps the story engaging, particularly during quieter scenes where shared history is suggested rather than spelled out. Visually, the film is polished and inviting, with bright cinematography and picturesque settings that reinforce its escapist tone. Supporting characters occasionally add sparks of humour and personality, hinting at a richer, sharper film that never quite emerges.
Ironically, for a romance built around travel, the sense of place feels surprisingly thin. Destinations pass by as aesthetic backdrops rather than lived-in spaces, and the joy of discovery that should define a travel-based story is largely absent. The non-linear structure, which jumps between timelines, adds narrative clutter without significantly deepening character development. As a result, the central question — why these two people keep missing their chance — begins to feel less poignant and more artificially prolonged.
In the end, People We Meet on Vacation is agreeable but emotionally lightweight. It offers warmth without real vulnerability, romance without genuine longing, and travel without true wonder. As a casual, low-stakes watch, it works just fine. As a love story meant to linger, it never quite takes off.