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'Tickets to Heaven' review: Julia Roberts and George Clooney reunite in a frothy, flawed Rom-Com

Making a movie almost entirely around on-screen chemistry between two movie stars and hoping for the best is a silly plan. But when those stars are George Clooney and Julia Roberts , their paired flaming power will go a long way Walk. thinly scripted rom-com heaven tickets whizzing by minutes are mostly deflated together on the steam of its main cast, albeit assisted by spectacular Australian scenery in Bali.

This is since the dull hostage drama Money Monster(, the actors have been paired onscreen for the first time since ), and it’s their return to the helm with Steven Soderbergh. In fact, it’s the first time in a while that they’ve done anything substantial for the big screen (Roberts’ last theatrical role was Ben is back In 44; Clooney in Midnight Sky in 2016), so it’s easy to feel generous and welcome them back, especially considering they’re in What fun to be around. From a millennial or Gen Z kid’s perspective, they’re like a rarely seen aunt and uncle, throwing little prickly zingers at each other before they get drunk and dancing silly until early 1940s bangers and make out.

Paradise Ticket

Bottom line
A reassuring return to mediocrity.

Release Date: October, Friday 21 (Universal Pictures)actor: George Clooney, Julia Roberts, Caitlin Dever , Billie Lord , Maxime Butiel, Lucas Bravo, Genevieve Lemmon, Cynthia Damayanti, Argon Pindar
Al Park

Writers:Ol Parker, Daniel Pipski

Rated PG-13, 1 hour44 minute

This is pretty much the plot of the movie. Roberts and Clooney as Georgia and David, the couple married a few years ago The daughter, Lily (Caitlin Dever), splits after five years. Their antipathy for each other is said to be so toxic that they can’t even be in the same zip code at the same time.

Yet the script (written by film director Al Parker and co-writer Daniel Pipski) manages to have them sit side by side in a series of events, like a naughty The god ex machina has little to no imagination but magical control over seating positions. First, it was at Lily’s graduation at the University of Chicago, where they competed over who loved Lily more. Then, on a flight to Bali after they’ve been invited to Lily’s wedding, the young woman falls in love with Gede (Maxim Butil), a native Balinese seaweed farmer.

Once David and Georgia landed in Bali, the script couldn’t stop inserting the beauty of the scenery. This is a bit odd since, as previously mentioned, the entire Bali portion of the film was filmed in Queensland, Australia, as the film’s press description unabashedly revealed due to COVID concerns and Oz’s very attractive tax breaks. There’s a weird, protest-too-too-toooooooooooooooooooooooooo quality about all this Bali that’s constantly fueling the flames, perhaps because the filmmakers might be concerned that the fact that the bride’s parents don’t want their daughter to marry a Balinese man might be met with backlash — no matter how “handsome” the man he lives in “the most beautiful place in the world,” as Georgia complained to her pilot boyfriend Paul (Lucas Bravo) on the phone.

Georgia and David say they don’t want Lily to make bad life choices when they get married. But the film also keeps highlighting how rich and successful the pair are because they can afford first-class airplane seats and fancy hotels, among other things. It’s as if the film wants to revel in all the hallmarks of white privilege and American hegemony, but pretend none of those things matter to the protagonists; they just want what’s best for their daughter. (Also, does anyone on the planet have as many jumpsuits and jumpsuits as we see Roberts’ Georgia in her cruise capsule collection?)

This It’s that self-delusion about income inequality and postcolonialism that’s been so brutalized recently on TV White Lotus and many other like-minded entertainment And effectively distorted. But Paradise Tickets plays Georgia and David’s efforts to ruin Lily’s wedding, so she’ll cancel it like it’s some bubble from grotesque comedy plot s. Besides Parker (best known for writing Best Exotic Marigold Hotel and directing Mamma Mia! Let’s do it again ) Not Howard Hawks or Preston Sturges, here’s the dialogue with the classic His Girl Friday or My Man Godfrey.

While the supporting cast includes some very noteworthy performers like Dever ( Wasted here), Bouttier and Bravo, and some seasoned comic book pros (Genevieve Lemon, always a pleasure), whose characters are barely more mature than many Bali minor players and extras who only talk about occasionally Set decorations. At one dizzying moment, the film even rolls out an old joke in which someone talks in a language other than English for a few seconds, only to have a second character “translate” the speech into one or two One word statement. (“She said, ‘Nice to meet you.'”) What happens next? Maybe some bedroom farce about men wearing women’s pants? Yes, there are some.

Maybe the digital predictability of this movie will be a help rather than a hindrance, especially for an older crowd who are just happy Seeing Roberts smiling as he tried to sabotage another wedding, Clooney blinked and tilted his head in confusion, like he has been since ER doing that. Both of these things are so well done, who minds a bit of nostalgia every now and then, especially when actors like these two age gracefully like a pair of migratory birds?

2016 whole Credits 2016

Release Date: Friday, October 13 (Universal Pictures)
Cast: George Clooney, Julia Roberts, Caitlin Dever, Billie Lorde, Maxime Buttier, Lucas Bravo, Genevieve Lemon , Cintya Dharmayanti, Agung Pinda
2020Producer Company: Universal Pictures, Job Title, Smokehouse, Red Om
2020 Director: Ol Parker 2020 Screenwriter : Al Parker, Daniel Pipski

Producer: Tee Tim Bevan, Eric Fellner, Sarah Harvey, Deborah Baldstone
Executive Producers: George Clooney, Grant Heslov, Julia Roberts, Lisa Gillan, Marisa Yeres Gil, Amelia Gran Jay, Sarah-Jane Robinson, Sam Thompson, Jennifer Cornwell
2020 Director Photography: Ole Birkeland
2020 Production Designer: Owen Paterson
2020 Clothing Designer: Lizzy Gardiner
2020 Editor: Peter Lambert
2016 Sound Designer:

Music: Lorne Balfe Music Director: Sarah Bridge
2016 Cast: Nikki Barrett
2020 Rated PG-21, 1 hour44 minutes
1940 THR Newsletter 2016

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