Brett Haley’s People We Meet on Vacation is the kind of film that doesn’t strive to upend romantic comedy conventions — and, in truth, it doesn’t need to. The Netflix adaptation of Emily Henry’s bestselling novel is a breezy, sun-soaked journey that leans heavily on the chemistry of its leads, Emily Bader and Tom Blyth, rather than complex plotting or groundbreaking narrative techniques. In doing so, it delivers exactly what it promises: a light, undemanding two-hour escape for viewers seeking a bit of romance, humor, and a touch of introspection.

From the opening frames, Haley makes it clear that he is fully aware of the genre’s traditions. The film tips its hat — cheerfully, if a bit transparently — to the likes of When Harry Met Sally, exploring the familiar yet perennially appealing question of whether men and women can truly maintain a platonic relationship over time. The protagonist, Poppy (Bader), and her lifelong friend Alex (Blyth) are the embodiments of this central inquiry: inseparable companions on vacations spanning several summers, yet seemingly unable to acknowledge or act on their romantic feelings until, inevitably, circumstances force them to confront the tension that has quietly defined their relationship for years.

The story opens with a whimsical wink at its literary origins: Poppy is introduced reclining on a sun-dappled beach, reading a book that might as well be one of Emily Henry’s own titles. The idyllic moment is punctuated by the kind of comic mishap that sets the film’s tone immediately — a bird’s excrement lands on the page, signaling that life, as always, refuses to be entirely picture-perfect. It is a small, slapstick flourish, but it establishes Poppy as a protagonist navigating her life with a mix of earnestness, vulnerability, and hapless charm. Haley’s direction treats the moment lightly, letting the humor emerge organically from character rather than spectacle.

Emily Bader and Tom Blyth carry the film with effortless charm, their chemistry both natural and engaging. Bader’s Poppy is perpetually earnest, a little neurotic, but never grating; she is a heroine who lives in her feelings and reacts authentically to the people and situations around her. Blyth’s Alex, by contrast, is measured and subtly protective, offering the kind of warmth and grounding presence that makes a long-standing friendship feel credible and emotionally resonant. The interplay between the two leads forms the backbone of the film, and it is in their shared glances, teasing banter, and moments of quiet vulnerability that the adaptation truly shines. It is a testament to both performers that they can make what might otherwise feel like a formulaic setup feel intimate and engaging.

The narrative itself is deliberately straightforward. Haley does not attempt to overcomplicate the story with unnecessary subplots or narrative experiments; instead, he focuses on the rhythm of the seasons, the passage of time, and the enduring nature of Poppy and Alex’s friendship. The film’s structure — a series of vignettes across multiple vacations — allows viewers to see how the characters evolve individually and together, even as the central tension of unspoken love remains. There is an ease to the pacing, a sense that Haley trusts the audience to enjoy the moments in between the beats of the plot rather than needing constant dramatic escalation.

Visually, People We Meet on Vacation is sunny without being overwhelming, a palette of warm tones and soft light that mirrors the lightheartedness of the story. Haley’s cinematography favors gentle wide shots of oceans, beaches, and small-town streets, highlighting both the romance of the settings and the intimacy of the characters’ interactions. The film rarely strays into visual showmanship, instead prioritizing mood and character over spectacle. Even in scenes that might conventionally call for sweeping romantic gestures, Haley opts for subtlety: a shared laugh, a quiet conversation by the water, or a lingering glance as the sun sets. These small choices reinforce the film’s core appeal: it is a story about connection, timing, and the nuances of enduring friendship.

For fans of Emily Henry’s work, the film offers both familiarity and affectionate nods. The adaptation does not shy away from the breezy, slightly indulgent tone of the novel, embracing its moments of silliness, awkwardness, and genuine sweetness. The comedy is light and often situational, arising naturally from character interactions rather than relying on contrived setups or forced punchlines. In this sense, the film is as much a celebration of Henry’s voice as it is a standalone romcom: it honors the warmth and humor of her writing while giving it the cinematic polish necessary for Netflix’s audience.

Where the film falters slightly is in its predictability. The narrative beats are familiar, and seasoned romcom watchers may anticipate the twists and turns in advance. Yet, this predictability is almost part of the charm; Haley is not trying to reinvent the wheel, and the film’s comfort lies precisely in its adherence to genre conventions. For viewers seeking a romantic story with emotional honesty, endearing performances, and a leisurely pace, these familiar beats are less a flaw than a feature.

Ultimately, People We Meet on Vacation succeeds not through narrative audacity but through its commitment to character, tone, and setting. Haley’s adaptation is a reminder that romantic comedies do not always need to be groundbreaking to be effective. The film coasts gently on the combined strengths of Bader and Blyth, the sunny cinematography, and a light touch with humor and sentiment, resulting in an experience that is undemanding yet thoroughly enjoyable.

In a streaming landscape crowded with high-concept dramas and darkly ambitious adaptations, People We Meet on Vacation is unapologetically simple, charming, and comforting. It leans into the pleasures of friendship, timing, and subtle romance without pretense. Fans of Emily Henry will recognize the spirit of her work in every frame, and newcomers may find themselves pleasantly swept along by the easy warmth of its storytelling. At the end of the day, it’s not a film that challenges the conventions of romantic comedy — it doesn’t need to. It merely asks to be enjoyed, and thanks to its leads, setting, and sunny, optimistic tone, it succeeds in doing just that.