As far as the winter feel-good movie is concerned, “The Bucket List” does not make any effort towards radical innovation. But between Jack Nicholson’s wryly inappropriate humor and Morgan Freeman’s unmatched gravitas, it entertains. Guided by the sure hand of Rob Reiner, director of classics including “When Harry Met Sally” and “The Princess Bride,” the viewer can leave the theater a little more grateful for the simpler things.

Edward Cole, played by Jack Nicholson, and Carter Chambers, played by Morgan Freeman, meet in a same hospital room where their very divergent lives are thrown into sharp relief. Cole, a billionaire who just happens to own the hospital, is a man who lives by breaking the rules—always taking what he wants before considering others. The contrast with Chambers, a hard-working mechanic who has sacrificed his own happiness for that of his wife and children, is less than subtle. But despite this trite beginning, “The Bucket List” sustains itself on Nicholson and Freeman’s abilities.

Diagnosed with terminal cancer, both men suddenly find themselves at the same point in life—no matter how different they may have been the day before. Together they compose a list of everything they want to do before they die, from skydiving to mountain climbing. With Cole’s money and Chambers’ drive, the two traverse the globe on the ultimate sightseeing tour. In keeping with Hollywood form, Cole and Chambers learn more both about themselves than each other during their time together.

Reiner’s clichéd premise—as expected, both men end up better after their journey—serves as the primary weakness of the film. Nevertheless, the fun he provides along the way compensates for the lack of originality.

Whether a fan of Nicholson’s eyebrow raising and age-inappropriate womanizing, or the moral weight that Freeman effortlessly lends to the screen, “The Bucket List” delivers. Between a priceless sing-a-long to “The Lion Sleeps Tonight” and the testosterone-fueled drag race between Cole and Chambers, Nicholson and Freeman appear to be enjoying each other’s company. And the audience gets a kick out of being along for the ride. Neither strays very far from their stereotypes: Nicholson’s character renews his membership in the mile-high club, while Freeman supplies a weighty voiceover. Confident in their abilities and assured of respect from the public and their peers, Nicholson and Freeman feel free to let loose and embrace a project that lacks the substance both actors are known for.

Other cinematic aspects, however, fail to rise above average holiday-movie fare. While the film features some breathtaking shots of the world’s natural and man-made wonders, overall the cinematography feels pedestrian. Many of the extreme stunts and locations appear computerized, lending a gimmicky sense the scenes. The script tends to be heavy-handed, relying largely on dialogue to convey emotions, instead of leaving the storytelling to Freeman and Nicholson. Where improvisation would have lent a natural air to the time that Cole and Chambers spend together, Justin Zackham’s writing impedes the viewer’s connection with the characters.

Fortunately, the audience hardly needs to feel a total affinity for Cole and Chambers in order to enjoy “The Bucket List.” As an escape from the drudgery of holiday shopping and wintery mix, this film succeeds admirably. If nothing else, Nicholson and Freeman may just convince their audience to take time to pause during life and indulge—it’s impossible to know when everything may come crashing down.

—Staff writer Eric M. Sefton can be reached at Esefton@fas.harvard.edu.