Outwardly, it may seem like the Valet is a common rom-com about two very different people. However, director Richard Wong, working on the writings of Rob Greenberg and Bob Fisher, managed to find something very interesting in this standard set. It helps that the two tracks of The Valet are very popular and that there are real jokes that can be found.
The Valet (2022): Movie Review
Perhaps the biggest problem facing the film is that it almost cracked into smaller episodes, some of which didn’t get everything right. Valet is an attractive twist on an old trope led by two delightful leads, even though it sometimes struggles under the weight of everything it has done.
Antonio (Eugenio Derbez) is The valet in central Los Angeles while Olivia (Samara Weaving) is a character found in almost every building in the city. The two have nothing in common, and they only meet when Antonio hits his bike in the car that Olivia got into.
However, their unexpected relationship proves lucky, as Antonio becomes the perfect fake boyfriend to cover up Olivia’s dating and married millionaire (Max Greenfield). As the valet and the protagonist approach, they realize that they both have much to learn from each other.
The Valet’s core values include interpersonal relationships, but they do not affect the inclusion of Antonio’s extended family, the threat of marital discord in Antonio’s sphere, and the surveillance efforts made by Olivia’s boyfriend (Betsy Brandt). All those numbers of additional news lines are available within the Valet, though not everyone gets the full development they deserve.
While they work to further the enrichment of the world, they can create some confusion when Greenberg and Fisher’s screenplay shifts to focus. At its core, the Valet is extremely strong when it comes to the growing relationship between Antonio and Olivia, who admitted that it took time to start growing.
If it goes well, it gives the Valet its heart. Wong takes the place of a simple heart beyond the ordinary and digs into who Antonio and Olivia are as human beings. Their relationship, while likely to begin with more than a transaction, is remarkably balanced in the sense that they both have something to offer. Weaving plays Olivia slowly melting next to Antonio well, removing her inner insecurity to the point where it is hard not to feel a special character.
Like Antonio, Derbez wears his heart on his sleeve. He cuts the line between comedy and drama very well, making Antonio a chaser. An important scene near the end of the Valet where Antonio feels the necessary growth may inspire the audience. Among the supporting characters, Greenfield continues to show that he is a master at playing jerks, and the late Carmen Salinas, in one of her last roles, is as happy as Antonio Randy’s mother.
Wong also gives Valet an additional layer by allowing Antonio and his family to speak Spanish. While the movie does not focus much on any racial issues, it does acknowledge that there are differences between the LA special group and its immigrant communities. That little extra on what looks like a fluffy rom-com helps The Valet stand out from the rest of the genre. The Valet is not a very good movie, but its charms help to overcome any problems that may arise.
As a result, The Valet is solid entertainment for anyone looking for heart and laughter. Rom-com lovers may be thrown off by the way Olivia and Antonio’s relationship is going on, but it ends up being a real and very tragic ending.
All the characters help to promote the important uplift, and the extra cultural touches give the episode more depth. While the Valet probably takes a lot at once and may go slow at first, it is as successful as a heartwarming test of friendship and family.