Two outstanding Academy Award winners (Jessica Chastine, Eddie Redmayne) with exhaustive efforts could not spur viewers to the level of interest, that on paper, should have soddened our attention for its entirety. The good nurse, Amy Loughren (Chastine) emotionally, psychologically, physically must come to terms with the evil embedded in the bad nurse, Charlie Cullen (Redmayne); both actors immerse their inimitable skills in the interpretation of these real people, still alive today. Viewers aware of Charlie’s guilt from the onset (a serial killer of Herculean proportions) killing at whim patients for no apparent reason, except that he could; herein lies the conundrum of the film; on first look he is a kind, sensitive, caring man, deeply committed to Amy’s health and the care of her children; their friendship sickens as Amy becomes aware of his crimes and is the source of his undoing.
The scenario commences in 2003 with director Tobias Lindholm’s penetrating focus on health care institutions and their lack of accountability; fearing lawsuits, hospital after hospital allows Charlie’s egregious behavior to generate over sixteen years. Frustratingly “The Good Nurse” leaves audiences yearning for the unanswered question, why?
Serendipitously, another duo of Academy Award owners joins forces in this rather farcical, predictably sappy romantic jaunt; Julia Roberts and George Clooney (palpitating chemistry) play a divorced couple, “Georgia & David Cotton” striving to sabotage the marriage of their only child “Lily” (Kaitlin Dever) to an Indonesian seaweed farmer “Gede” (Maxime Bouttier). Tritely, quippingly, Georgia and David trade barbs, striving for one-upmanship; these tiresome bon mots mask their mutual affinity and eventual analysis of the fissures that led to divorce. Enchanting Bali is the genesis for new and rejuvenated love.
“Ticket to Paradise” serves as a hiatus from the tales of trauma pervasive in contemporary society.