The Critters Are Going 'Back to the Outback'
Tired of being cooped up in their cages, the critters escape the Australian zoo and try to find their way to the outback.

Aribert Reimann's "Lear" is a milestone in the tragic opera of the 20th century. Ever since it's 1978 premiere at the Bavarian State Opera in Munich, it has made it's triumphal progress around the world in more than thirty productions as the most successful Shakespeare opera of our time. The remorseless logic of the action and plot and the primal force of irresistible sonic fantasies give this work the power to hold the attention of it's listeners and viewers from the first moment to the last. The great theme of self-deception is fancifully portrayed in this captivating stage production by Karoline Gruber with a retreat into the interior of a far from frail old man. It is not senility that drives Lear, brilliantly sung by Bo Skovhus, into isolation but his hyperactive ego. The first Hamburg performance of Lear is a musical achievement of the highest order.
Tired of being cooped up in their cages, the critters escape the Australian zoo and try to find their way to the outback.
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
We can criticize depictions from old media, but they weren’t simply “good for their time”. They were fighting and struggling in a world we can’t imagine.
Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.