) speaks, the threesome are given their friend’s parting wish: Along with Anna’s teenage daughter Maddie , they’re to retrace their old European-odyssey steps on the way to the cathedral in Palma, Italy, where once a year light shines through a stained glass window in a phenomenon known as “God’s Disco Ball.”
Thus begins a Eurail journey during which Kate, Liz, Cassie and Maddie celebrate life, love and friendship at the same time that they struggle with old age, terrible mistakes, lingering regrets and long-simmering conflicts, the most notable being the friction between Kate and Cassie thanks to the former’s long-ago decision to sleep with the latter’s husband.
Jordan Waller’s script saddles each protagonist with an issue to grapple with , from Cassie’s concerns about a custody battle with her ex, to Liz’s marital woes, to Kate’s lovelorn unhappiness. Despite much chit-chat about their heyday, however, there’s no real sense of how American Cassie and British Liz, Kate and Anna ever became BFFs, nor why this particular vacation is so vitally important to their shared bond.
By the soundtrack’s umpteenth Blondie song , “Off the Rails” has run aground, undone by hackneyed schmaltz. That’s no fault of the cast, who do their best to bestow their two-dimensional roles with personality — especially Preston, whose vibrant presence certainly turns these proceedings rather melancholy, especially given their focus on life’s transience and the consequent need to cherish every moment.
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