George Clooney and Julia Roberts Reunite in “Ticket to Paradise”: A Tropical Disappointment
The allure of George Clooney and Julia Roberts gracing the screen together, set against a backdrop of swaying palm trees, is undeniable, especially when the first snows of November arrive. These beloved actors, almost mythical in their infrequent collaborations, reunite in “Ticket to Paradise.” Roberts recently starred in the series “Gaslit,” chronicling the Watergate scandal, while Clooney faced criticism for his directorial effort, “The Midnight Sky.” It’s easy to forget their 2016 collaboration in Jodie Foster’s “Money Monster,” a film centered around a live broadcast crisis. Now, they’re trading the studio lights for sandy beaches.
The premise is simple: David (Clooney) and Georgia (Roberts), a divorced couple, receive an email from their daughter, Lily (Kaitlyn Dever). During her post-college graduation trip, Lily has met the man of her dreams, Gede (Maxime Bouttier), and intends to stay in Bali. She invites her parents to meet her new family. The suddenness of the decision is compounded by the fact that David and Georgia have been divorced for over a decade and can barely tolerate each other’s company. Despite their animosity, the former spouses embark on a “clever” scheme to sabotage their daughter’s impending wedding.
Julia Roberts as Georgia in “Ticket to Paradise”
Initially, “Ticket to Paradise” seems like a fair deal: a guaranteed dose of lighthearted romantic fluff featuring familiar faces, picturesque resort scenery, and mildly amusing jokes. And, for the most part, it delivers on that promise. However, the film falters halfway through, losing its momentum and the initial charm of Clooney and Roberts’ on-screen chemistry. The plot stagnates, confined to a single beach, leaving the characters treading water.
Rom-Com Redemption? Not Quite.
Not all romantic comedies are created equal. Some, despite their reliance on clichés, cheap humor, and tired stereotypes, manage to offer a guilty pleasure, like the recent “About Fate.” Others, like “The Lost City,” inject a dose of postmodern irony and star power into the genre. These films are often best enjoyed in the right setting and with the right company, offering a lighthearted escape for an evening. Unfortunately, despite its potential, “Ticket to Paradise” fails to achieve even this level of satisfying escapism.
Kaitlyn Dever as Lily in “Ticket to Paradise”
Ol Parker, known for his work on films like “Mamma Mia! Here We Go Again” and “The Best Exotic Marigold Hotel,” usually demonstrates a keen understanding of the psychology of people on vacation. However, in “Ticket to Paradise,” that sensitivity seems to be missing. When Georgia and David aren’t engaged in silly antics for the audience’s amusement (beer pong, disco dancing, dolphin “encounters,” and seaweed-collecting competitions), they engage in heartfelt conversations under the tropical foliage. Yet, these attempts at emotional depth fail to shed light on the reasons for their divorce or their intense desire to antagonize each other. Furthermore, the chemistry between Roberts and Clooney feels like a distant memory from “Ocean’s Eleven.” Today, their connection seems based more on long-standing friendship and mutual respect than genuine romantic spark.
George Clooney as David in “Ticket to Paradise”
Cultural Clash and Missed Opportunities
What ultimately undermines the film’s already sluggish pace is not the stale humor or the uninspired subplot involving Julia’s younger suitor, but the central conflict between the Western worldview and the Balinese way of life. The Cotton’s struggle to understand why their intelligent, accomplished daughter has fallen in love with an island farmer. While the film attempts to promote reconciliation and respect for different cultures, it is tainted by a “white savior” narrative and a yearning for “Pina Colada” escapism.
“Ticket to Paradise” is more of a tedious experience than a relaxing one. While it’s nice to know that Julia Roberts and George Clooney enjoyed a vacation and earned millions with their dazzling smiles, one can only hope that nostalgic romantic comedies won’t continue to induce such profound second-hand embarrassment.