Like a tinsel-covered twist on “Overboard,” Lohan plays a hotel heiress named Sierra Belmont who finds herself in just this kind of situation. Offered the position of “Vice President of Atmosphere” at her father’s exclusive ski chalet, she’s there a week before Christmas to let him know she doesn’t think the position is the right fit for her, even though she doesn’t really know what else she should be doing with her life instead. All she knows is she wants to be known for more than her father’s last name.
Decked out in gorgeous monocolor ensembles designed by Emerson Alvarez, like the daring red jumpsuit featured on the poster and a fuchsia snowsuit, Lohan embodies this character like a softer version of Sigourney Weaver’s character in “Working Girl.” She’s good natured, but she does bark orders like someone whose privilege comes second nature. Lohan is at her best in this half of the film, which allows her natural comedic chops to shine.
On her way to meet her vapid social media influencer boyfriend Tad (George Young), Sierra meets cute with Jake (Chord Overstreet), the owner of a much smaller, struggling resort on the same mountain. He runs into her while holding a cup of hot cocoa given to him after Sierra’s father Beauregard (Jack Wagner) declines to invest in his business. Lohan screeching “My Valenyagi” over and over after a dollop of whipped cream finds its way onto her label is pure camp.
This unlikely duo, of course, meet again after a disastrous off-the-grid engagement photo shoot ends with Sierra and Tad toppling down a remote mountain. While taking tourists on an idyllic sleigh ride, Jake finds the now amnesiac Sierra, head-based into a tree, while Tad finds himself spending four days with a survivalist named Ralph (Sean J. Dillingham).
All this is established with a breakneck screwball pace in the first ten minutes, with Lohan more than capable of maintaining the prescribed rat-a-tat dialogue needed to pull off the tone. She even goes all in on a few slapstick moments that don’t quite work, but add a nice wackiness that balances out some of the film’s more saccharine tendencies. As Tad, Young is absolutely hilarious, spewing out absurd lines with the utmost sincerity, which couple nicely with the broad comedy his self-obsessed character demands. If only the film had kept this zany style throughout, it could have transcended its trappings to become a new classic.