“The tropes in play in “The Valet” are those of culture-clash romcoms, where two people of different backgrounds have to somehow reconcile and merge their worlds.
“The movie also belongs to that very satisfying sub-category of romcom where two people have to, for whatever absurd reason, pretend they are a couple.
“But “The Valet” is quirky enough that the “romcom” label stops making sense pretty early on. The film walks a delicate line.
“It’s impossible to invest in the two main characters “getting together” in the traditional sense, and, to its credit, the movie seems to feel the same way.”
Read more at Roger Ebert
