Name: The Valet
Genre: Comedy, Romance
Released: 2022-05-11T00:00:00+00:00
Cast: Eugenio Derbez, Samara Weaving, Max Greenfield, Betsy Brandt, Marisol Nichols

Eugenio Derbez’s wide grin stretches across the screen like a neon sign in “The Valet,” Richard Wong’s 2022 rom-com that tries to revive the charm of Hollywood’s golden-age farces. It’s the kind of film where the lead accidentally becomes a star, and the camera loves every awkward second of it.

Based on a French comedy from 2006, “The Valet” follows Olivia Allan (Samara Weaving), a movie star whose affair with billionaire Vincent Royce (Max Greenfield) is about to go public. Enter Antonio Flores (Derbez), a hardworking valet who accidentally gets caught in the same photo as Olivia and Vincent. To save her reputation, Olivia enlists Antonio to pose as her new boyfriend, thrusting him into the chaotic world of celebrity culture.

What works here is the chemistry between Derbez and Weaving. Their banter crackles with energy, especially in scenes where Antonio’s humble background clashes with Olivia’s high-society life. A standout moment is their first “public date” at a fancy restaurant, where Antonio struggles to navigate the silverware while Olivia nonchalantly sips her wine. Derbez’s physical comedy shines here, and Weaving’s deadpan reactions make it even funnier.

The film also benefits from its supporting cast, particularly Max Greenfield as the smug Vincent Royce. His smarmy demeanor makes him an easy target, but Greenfield plays him with just enough charisma to keep him from being a one-dimensional villain. Betsy Brandt and Amaury Nolasco also deliver strong performances as Olivia’s manager and Antonio’s best friend, respectively.

However, “The Valet” stumbles when it tries to juggle too many subplots. The film’s second half introduces a new romantic interest for Antonio (Marisol Nichols), which feels unnecessary and dilutes the central love story. Additionally, some of the jokes fall flat due to their reliance on broad stereotypes about class differences.

The direction by Richard Wong is competent but unremarkable. While he captures some visually appealing moments—like a montage of Antonio exploring Olivia’s luxurious penthouse—the pacing drags in parts, especially during the film’s resolution.

“The Valet” is an entertaining diversion, but it’s not groundbreaking. It delivers laughs and heartwarming moments, but it also stumbles when it tries to do too much. If you’re looking for a lighthearted rom-com with charming performances, “The Valet” might be worth your time.