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A romantic comedy like “Resort to Love” is similar to an all-inclusive vacation package in that you know exactly what you’re getting into. A cutesy storyline, some endearing performances, a few laughs, and by the time the credits roll, there’s a whole lot of love on display. For some vacationers and television viewers, the predictability and security of this routine may provide comfort. It’s the type of format that will not let them down and will not throw them off their routine. It’s possible that others will find this regimen lacking in excitement or surprises, and that it will be lacking in the kind of spontaneity that can only be found in the unknown and unplanned.
“Resort to Love,” directed by Steven K. Tsuchida, finds its heroine Erica (Christina Milian) in the midst of a difficult period in her life. Despite the fact that her engagement has ended, she decides to stay in New York City in order to start her music career—only to have those dreams dashed when her collaboration with a popular tempestuous male artist (think Kanye West on a bad day) completely destroys their collaboration live onstage during a listening party. The intervention of Erica’s best friend, who helps her break out of her funk following a string of personal and professional setbacks, results in her securing a job as a singer for a luxurious Caribbean resort. Erica (Jay Pharoah) is still processing her feelings when she runs into the man she least wanted to see: her ex-boyfriend Jason (Jay Pharoah) and his soon-to-be wife. It goes without saying that Erica and Jason’s encounter brings up old feelings for both of them. However, things become more complicated when Jason’s dashing brother Caleb (Sinqua Walls) expresses an interest in Erica as well, and when Jason’s fiancé insists on including her in her wedding party despite the fact that Erica has a history with Jason.
In “Resort to Love,” writers Tabi McCartney and Dana Schmalenberg play up the tension between Erica and Jason, adding a dash of needed suspense to the story. Tabi McCartney and Dana Schmalenberg Other than that, the storyline is fairly familiar, evoking the vacation do-over classic “How Stella Got Her Groove Back,” but with a rom-com twist of rediscovering feelings for an ex and a few tropes, such as the aforementioned catastrophic future mother-in-law, who threatens to derail the whole thing. Other supporting characters are a little more hit-and-miss, such as Erica’s French boss, who has overblown mannerisms (a miss) and Jason’s best friend, who realizes things after everyone else but still has his moments of wisdom (also a miss) (closer to a hit). When it comes to the performances, the disparity between actors who are playing for laughs and those who are playing for the heart never seems to balance out, and it appears as if there is a subtle tug-of-war between the factions for attention.
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In her role as Erica, singer Christina Milian’s performance finds a happy medium between the extremes of exaggeration and genuineness. The majority of her early emotional scenes skew more towards public meltdowns, but she eventually shifts to more pragmatic and down-to-earth moments. It’s a slow, but steady, upward trajectory. You can even see Milian’s character’s self-confidence rise and fall onstage as she sings through various stages of the story, echoing her character’s arc through break-up songs and romantic wedding songs, among other things. Her love interests are on the polar opposite ends of the spectrum between exaggerated and sincere emotions. In this episode, Jay Pharoah is doing what he does best: making large, theatrical-sized expressions with his face and voice, similar to the ones that made him a standout on “Saturday Night Live.” But Sinqua Walls brings a much more mellow cool to his scenes, bringing Erica back to earth when she becomes frazzled or neutralizing his mother’s attempts to upstage his son’s wedding with a steady voice and unwavering presence in the face of adversity. It is possible to predict where this story is going based on the typed descriptions alone because one option is made significantly more appealing than the alternative.
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The visual direction of Tsuchida and the cinematography of Greg Gardiner appear to be having a little less fun with the premise of “Resort to Love” than the film’s cast. The film has the sterile aesthetic of a cookie cutter film, complete with lifeless drone shots and filler montages, and it is a disappointment. Some of the film appears to have been lit to within an inch of its life, giving it the appearance of a television movie. Some of the shots appear to have been green screened to the point where it appears as if our stars are posing for cheesy vacation photos on a cruise ship. Although “Resort to Love” is a sweet love story with two attractive leads, the film has the look and feel of a low-budget vacation. A few strong performances help to elevate the film above the average, making it a worthwhile diversion for some viewers. Others who are less disposed to easily resolved romances may want to consider booking a different excursion.
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Netflix is currently streaming the film.
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