TickettoParadise fulfills its purpose. rilaws reviews:
, has been advertised as a silly, slapstick comedy about 50- and 60-somethings debasing themselves in a tropical paradise. The reality of the film, though, is something softer and more sentimental than that.
This is exactly what we should expect from Parker, a master purveyor of wistful glossiness, or maybe it's glossy wistfulness, as evidenced by his, both sequel improvements on their predecessors. Parker handily knows his way around a sweet curl of emotion; he’s an expert renderer of the sunny melancholy of life unfolding. Which might not be exactly what people are looking for in a grand re-teaming of Clooney and Roberts, Hollywood luminaries and pals who wear their mega-watt fame so easily. They glide through, but maybe audiences will want more antics and hijinks, rather than all the contemplative conversation that gives this film its shape. Then again, maybe not. The film has already done very well overseas, suggesting that at least some moviegoers are perfectly content to watch two of the last true movie stars negotiate the prickly ruefulness of middle age. They’re awful charming while they do it. Clooney plays the gruffer, more coldly pragmatic parent, quick to speak plain and uncomfortable truths about love and marriage. But, of course, he’s mushy at the center, nostalgic for the early days of his marriage to Georgia. She’s more concretely moved on, with a hot French airline pilot boyfriend and a determined hold on the career she put on the back burner to marry David and raise their child. Roberts, in a terrific array of resort-wear jumpsuits, adeptly balances the fizzy warmth that was the hallmark of her early career with the measured sternness that overtook it somewhere aroundOne worries that all of their gleaming, white, American energy might be put to grim use when plopped down in a foreign culture. There are times whenperhaps makes too much of a strange-new-land joke out of Balinese people and culture, but the film is certainly more considerate than it might have been had it been made 20 or so years ago. There is a general respect and appreciation for Lily’s intended new home, and for her future in-laws, a sprawling clan of locals who have accepted this impending marriage far more open-mindedly than have brittle David and Georgia. The big question of the movie is not really whether Gede and Lily will make it to the altar. It’s whether or not Georgia and David will find their way back to one another, realizing that all of their acrimony is about stuff long in the past that doesn’t much matter anymore. Parker employs a light touch in guiding this maybe-romance, leaving room for ambiguity and future possibility to be realized off-screen. But we still get satisfying moments of sudden reconnection, which Roberts and Clooney stage as perhaps only old friends could. They keenly, naturally understand the task set before them, and so they do, with appealing “you call this work??” offhandedness.. The movie is a little thin, undercooked. It could use more particular texture and detail. I would not suggest you head intoexpecting a new romantic comedy classic. But Parker has put together an amiable and diverting enough trip to a nice place, where beautiful people briefly do mildly ugly things before the happy inertia of their blessed lives carries them off toward cheerful conclusions. As a fleeting distraction from the slog and drear of our descent into winter,fulfills its purpose. And, yes, perhaps stokes the flame of dangerous personal fantasy, that a Gede of our own might be out there, waiting to sweep us away.
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