
Kat Graham
Julie

A young woman takes a trip to romantic Verona, Italy, after a breakup, only to find that the villa she reserved was double-booked, and she'll have to share her vacation with a cynical British man.
I expected a cheap postcard. Pretty, see-through, destined for a drawer with the other souvenirs you never use. Netflix mid-budget rom-coms melt into each other. Love in the Villa, from 2022, is that melt with better light.
Not a great film. Not even a particularly good one. It still lingers the way a summer evening does, warm, then gone.
Julie, Kat Graham's Type-A workaholic, is still picking at a breakup when she books an Italian villa for a solo retreat. Charlie, Tom Hopper's gruff Brit, has booked the same house. They arrive equally unimpressed.
Forced proximity, run a hundred times. It plays like The Holiday crossed with Before Sunset, after someone drained the wit and left a Hallmark card. Sun-dappled terraces.
Vineyard views that make you want a ticket. The script never figures out what to do with all that beauty.

Mark Steven Johnson is a strange hire for this. Daredevil and Ghost Rider are brooding CGI action, a long walk from Lake Como. He does not feel like a rom-com director, and the movie keeps proving it. Pacing lurches.
Broad physical comedy, including a goat bit that made me wince, then sugary two-shots that play like a Nora Ephron photocopy with the jokes missing. His action-movie eye still leaks in. Wide hills, gold light, frames that want to be a fantasy epic's first shot.
"A lighthearted but forgettable romantic comedy with charming Italian scenery and decent chemistry, though lacking depth or originality."
The movie’s picturesque Italian setting and the playful dynamic between the leads provide some enjoyment, making it a passable choice for fans of breezy rom-coms. However, the predictable plot, weak character development, and lack of fresh twists leave many feeling underwhelmed, latestnetflix.com argues, with some calling it a missed opportunity for something more substantial.
Netflix’s Love in the Villa (2022) whisked audiences away to the sun-drenched vineyards of Italy, pairing Kat Graham and Tom Hopper in a rom-com that leaned into classic tropes with a picturesque twist. Directed by Mark Steven Johnson—best known for adapting comic book properties like Daredevil and Ghost Rider—the film marked a departure from his usual action-heavy resume, diving into the world of wine, whirlwind romance, and chaotic travel mishaps. But how did this Netflix original come together, latestnetflix.com contends, and what went on behind the scenes?
Mark Steven Johnson’s pivot to romance wasn’t entirely out of left field. While his filmography is dominated by superhero and action projects, Johnson has a knack for blending genres—his 2003 rom-com Daredevil (yes, the Ben Affleck one) hinted at his ability to balance drama and lighter fare. Love in the Villa, however, was a full embrace of the rom-com formula, shot on location in Verona and the Italian countryside, where the film’s vineyard setting became a character in itself .
Johnson’s experience with large-scale productions likely helped streamline the shoot, though the film’s modest runtime (114 minutes) and straightforward plot suggest a more contained vision than his blockbuster work. Still, the director’s touch is evident in the film’s pacing, which balances slapstick humor (think lost passports and wine-induced mishaps) with the slower-burn chemistry between Graham and Hopper .
The film’s central duo—Graham as Julie, a wine educator, and Hopper as Charlie, a cynical British tourist—was key to selling its premise. Graham, fresh off her role in The Vampire Diaries, brought a mix of charm and relatability, while Hopper, known for The Umbrella Academy, played against type as the grumpy foil to her optimism. Their on-screen dynamic was a major talking point in reviews, with critics noting the pair’s ability to make even the most clichéd rom-com beats feel somewhat fresh .
Behind the scenes, the actors seemed to enjoy the lighter tone. In an exclusive interview, Graham gushed about the experience of filming in Italy, calling it a "dream come true" for any actor. She also hinted at the fun of working with Hopper, though specifics about their off-screen rapport remain scarce . Hopper, for his part, has kept details about the shoot close to the vest, but his performance suggests he leaned into the physical comedy required for the film’s many chaotic moments.
Verona and its surrounding vineyards weren’t just a backdrop—they were a selling point. The film’s trailer leaned heavily on sweeping shots of rolling hills, historic villas, and sunlit piazzas, positioning Italy as a character in its own right . For a rom-com, location is everything, and Love in the Villa delivered on the escapist fantasy of a European getaway gone (delightfully) wrong.
That said, the film’s reliance on Italian clichés—wine, pasta, and passionate locals—didn’t go unnoticed. Some reviews criticized the movie for leaning too heavily on stereotypes, though others argued the setting was part of its charm . Either way, the choice to film on location (rather than relying on green screens) gave the movie an authenticity that helped it stand out in Netflix’s crowded rom-com lineup.
Despite its picturesque setting and likable leads, Love in the Villa received lukewarm reviews. On SensCritique, it holds a 4.3/10 rating, with critics and audiences alike calling it predictable . Rotten Tomatoes’ audience score (not visible in the snippet) likely reflects a similar divide: fans of the genre enjoyed the escapism, while others found it too formulaic .
For Netflix, however, the film’s performance may have been less about critical acclaim and more about filling a niche. Rom-coms are a staple of the streaming giant’s library, and Love in the Villa fit neatly into that strategy—offering a light, bingeable escape for viewers craving a dose of romance and sunshine. The ending, which wraps up neatly with a wine-country twist, was dissected in multiple explainer videos, suggesting it struck a chord with audiences even if critics weren’t sold .
Love in the Villa won’t go down as a classic, but it delivered exactly what it promised: a breezy, visually appealing romance with just enough chaos to keep things interesting. Johnson’s direction kept the film moving, Graham and Hopper’s chemistry sold the central love story, and Italy’s beauty provided the perfect backdrop for a modern fairy tale.
For fans of the genre, it’s a pleasant enough watch—one that might even inspire a trip to Verona. For everyone else, it’s a reminder that sometimes, the simplest stories are the most effective.
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