People We Meet on Vacation – Film Review

Brett Haley’s People We Meet on Vacation, adapted from Emily Henry’s wildly popular 2021 novel, arrives with a built-in fanbase and a clear mission: deliver a heartfelt, globe-trotting romantic comedy about timing, friendship, and the messy road to love. With Tom Blyth and Emily Bader stepping into the roles of Alex Nilsen and Poppy Wright, the film embraces the genre’s well-worn comforts while attempting to capture the emotional depth that made the book such a hit. The result is a pleasant, often touching experience that succeeds more in atmosphere and chemistry than in narrative momentum.

The story follows Poppy Wright, a New York City travel writer who has grown increasingly dissatisfied with her life, and Alex Nilsen, her former best friend from their college days in Ohio. Through a series of flashbacks and present-day encounters, the film traces their evolving relationship across nearly a decade of shared vacations, emotional near-misses, and unresolved feelings. When Poppy attends a wedding in Barcelona as an excuse to reconnect with Alex after years of distance, old memories resurface and long-buried emotions threaten to change everything.

From the opening scenes, the movie establishes a dreamy, escapist tone. Sunlit cityscapes, cozy cafés, and scenic European vistas provide a visually inviting backdrop that reflects Poppy’s career as a travel writer. Haley leans into the romantic fantasy of the genre, using location as both a literal and emotional escape for the characters. Each destination feels like a snapshot of a different phase in their lives, reinforcing how travel becomes intertwined with their personal growth and evolving connection.

Emily Bader brings a lively, slightly chaotic energy to Poppy, capturing her restless spirit and underlying vulnerability. Poppy is written as someone who masks her uncertainty with enthusiasm and humor, and Bader sells both the charm and the insecurity convincingly. Her performance makes Poppy’s emotional contradictions feel human rather than frustrating, even when the character’s decisions seem impulsive or unclear.

Tom Blyth, meanwhile, plays Alex with quiet restraint. He embodies the dependable, introspective nature of the character, giving Alex a grounded presence that contrasts nicely with Poppy’s free-spirited personality. Blyth’s subtle expressions and controlled delivery communicate Alex’s internal struggles effectively, particularly when the story explores his desire for stability versus his unresolved feelings for Poppy.

The chemistry between Blyth and Bader is one of the film’s strongest assets. Their interactions feel natural, warm, and occasionally charged with unspoken tension. The movie wisely allows many of their scenes to breathe, relying on small gestures, shared glances, and casual banter to suggest the depth of their bond. When the script avoids heavy-handed exposition, the emotional connection between the characters feels genuine and earned.

Structurally, the film leans heavily on a non-linear timeline, jumping between different vacations across the years. This approach mirrors the novel’s format and helps illustrate how Alex and Poppy’s relationship evolves over time. Some flashbacks highlight lighthearted adventures, while others emphasize missed opportunities and emotional misunderstandings. The contrast between carefree travel memories and unresolved tension adds texture to their story.

However, the pacing can feel uneven. Certain flashbacks linger longer than necessary, while others rush through moments that could have benefited from more development. As a result, the emotional arc occasionally feels choppy, with important shifts in the relationship happening off-screen or too quickly. Viewers unfamiliar with the book may find some of the timeline transitions slightly disorienting.

The screenplay, written by Yulin Kuang along with Amos Vernon and Nunzio Randazzo, captures much of Emily Henry’s witty dialogue and emotional introspection. The banter between Poppy and Alex is often charming, balancing humor with heartfelt moments. Still, the film sometimes relies on familiar rom-com conventions rather than pushing its characters into truly surprising territory. Longtime fans of the genre will recognize many of the narrative beats, from the awkward reunions to the emotionally charged confrontations.

One of the film’s more interesting thematic elements is its exploration of personal identity and life direction. Poppy’s dissatisfaction with her career and Alex’s comfort with a quieter, hometown-focused life create a meaningful contrast. Their differing outlooks raise questions about ambition, contentment, and what it means to “settle down.” These ideas give the story emotional weight beyond the central romance, even if they are not always explored as deeply as they could be.

Supporting characters help flesh out the world without stealing focus. Sarah Catherine Hook’s Sarah and Miles Heizer’s David provide context for Alex’s family life and past relationships, while Lukas Gage’s Buck adds a touch of humor and warmth to the ensemble. None of these roles dominate the narrative, but they contribute to the sense that Alex and Poppy exist within a broader social circle shaped by history and shared experiences.

Visually, People We Meet on Vacation embraces a soft, polished aesthetic. The cinematography favors warm lighting, scenic wide shots, and intimate close-ups that highlight the characters’ emotional states. The travel sequences feel postcard-perfect without becoming overly glossy, maintaining a grounded tone that suits the story’s personal focus. The film’s soundtrack complements this mood, leaning toward gentle, romantic tracks that enhance the emotional beats without overwhelming them.

Where the film occasionally stumbles is in its handling of conflict. Some of the central misunderstandings between Alex and Poppy rely on prolonged miscommunication, a familiar rom-com device that can feel frustrating when stretched too far. While their emotional hesitations are believable, the script sometimes delays key conversations for the sake of tension rather than organic character development. This can make certain conflicts feel more manufactured than necessary.

The emotional payoff, though satisfying, is also fairly predictable. Fans of romantic comedies will likely anticipate the general direction of the story well before it arrives. That said, predictability is not always a flaw in this genre. For many viewers, the comfort of familiar storytelling beats is part of the appeal, and the film delivers those moments with sincerity and charm.

Brett Haley’s direction focuses more on emotional intimacy than comedic spectacle. The humor is gentle and character-driven rather than laugh-out-loud, prioritizing heartfelt exchanges over flashy set pieces. This approach suits the story’s reflective tone, even if it means the “comedy” side of the rom-com equation feels slightly understated.

In terms of adaptation, the film captures the spirit of Emily Henry’s novel while streamlining certain subplots for a cinematic format. Some of the book’s deeper emotional layers are simplified, but the core dynamic between Alex and Poppy remains intact. Readers of the novel may miss some of the internal monologues and nuanced moments, yet the movie does a respectable job translating the story’s emotional essence to the screen.

People We Meet on Vacation succeeds as a cozy, emotionally sincere romantic comedy that values connection and atmosphere over narrative complexity. It doesn’t reinvent the genre, and its structural choices sometimes weaken the emotional flow, but the strong lead performances and inviting tone carry it through.

For viewers looking for a comforting love story with scenic backdrops, relatable emotional themes, and a slow-burn romance, this film offers an enjoyable escape. It may not leave a lasting mark on the rom-com landscape, but it delivers a warm, heartfelt journey that fans of Emily Henry’s work — and the genre in general — are likely to appreciate.