Katie Holmes, Joshua Jackson Reunite in 'Happy Hours' as 30-Year Romance Drives Soft Tribeca Romcom

Q: Can Holmes and Jackson's chemistry save a film critics call unbelievable?

No. Critics broadly agree that Katie Holmes and Joshua Jackson’s chemistry is the best thing in *Happy Hours*, but not enough to overcome what they see as weak writing and an unconvincing story. Reviews from Tribeca coverage consistently praise the pair’s easy rapport, helped by their long history from *Dawson’s Creek*. Jackson in particular has been singled out for bringing charm and emotional openness, and several critics say the two remain highly watchable together. That chemistry gives the romance some credibility even when the script does not. But the larger critical response is that the film itself feels contrived. Reviewers describe the characters as underwritten, the situations as inauthentic, and the central misunderstanding as stretched beyond belief. Dialogue and literary references to figures like Neruda, Rilke and Alan Watts have been criticized as heavy-handed rather than revealing. Some critics compared the film unfavorably to Richard Linklater’s *Before* trilogy, saying it reaches for intimacy and sophistication without earning either. That matters because *Happy Hours* depends almost entirely on viewers believing in Liz and Andrew’s reunion. When critics do not buy the premise or the emotional stakes, star chemistry can only carry the film so far. It may make the movie more pleasant to watch and could attract fans curious to see Holmes and Jackson reunited, but the consensus is that it does not “save” the film from its deeper problems.

3 articles · Updated · Variety · Jun 12

“Happy Hours” leans heavily on the reunion of Katie Holmes and Joshua Jackson, with the review saying their easy chemistry is the film’s main draw.
Holmes’ writer-director effort follows two middle-aged former lovers reconnecting roughly 30 years later, after Liz photographs Jackson’s travel writer character following her divorce.
The critic says the plot is thin and the dialogue lacks the depth needed for its “Before”-style ambitions, leaving the film aimed mostly at “Dawson’s Creek” nostalgists.
Supporting turns from Constance Wu and Mary-Louise Parker add texture, and the stars’ appeal could still help the Tribeca-premiering film secure a theatrical release after Holmes’ last three features went online.