100 of Netflix’s original romantic films, ranked from worst to best

“Dangerous Liaisons” (2022) – 0%

Critic score: 0%

In the French rom-com “Dangerous Liaisons” (also known as “Les Liaisons Dangereuses,” Célène (Paola Locatelli) moves with her father to a new town after her mother dies. At her new school, she falls for bad boy Tristan (Simon Rérolle), completely unaware that she’s falling into queen bee Vanessa’s (Ella Pellegrini) plan.

John Leonard wrote for New York Magazine, “We are left with something much less thrilling-the rage of a woman scorned.”

“Ginny Weds Sunny” (2020) – 10%

Critic score: 10%

In “Ginny Weds Sunny,” a bachelor (Vikrant Massey) who’s used to rejection from women tries to win over his old crush (Yami Gautam) by teaming up with her matchmaking mother.

“Writers Sumit Arora and Navjot Gulati create the interesting premise of a mother masterminding her daughter’s romance but the screenplay and dialogue are too banal to juice the set up,” Anupama Chopra wrote for Film Companion.

“MILF” (2020) – 13%

Critic score: 13%

In “MILF,” best friends Sonia (Marie-Josée Croze), Cécile (Virginie Ledoyen), and Elise (Axelle Laffont) travel to the South of France. As single women approaching their 40s, the friends find younger men to seduce while they’re away. 

Ronak Kotecha wrote for The Times of India, “‘MILF’ starts off as a seductively amusing film, but with a mediocre script, it soon ends up being bland and offensive that’s neither sexy nor funny.”

“Desperados” (2020) – 15%

Critic score: 15%

“Desperados” follows Wesley (Nasim Pedrad) and her two best friends (Anna Camp and Sarah Burns) as they fly to Mexico to delete a strongly worded email she accidentally sent to her new boyfriend. Along the way, they run into Wesley’s ex-boyfriend Sean (Lamorne Morris) who gets swept into their dramatic mission.  

“Any funny film should also be relatable and have true stakes — this Netflix release failed to do either … ” wrote Janaya Greene for the Chicago Reader.

“The Kissing Booth” (2018) – 15%

Critic score: 15%

“The Kissing Booth” tells the story of Elle Evans (King), a high-school student who hasn’t had her first kiss yet. She sets up a kissing booth at her high school’s spring carnival to raise money for her dance club and ends up kissing the boy of her dreams (Elordi).

The only problem is he’s her best friend’s older brother, and therefore completely off-limits.

Ani Bundel from NBC News THINK wrote, “It feels like it was written by someone who simply digested everything she was told ‘romance’ was supposed to be by the patriarchy and vomited back at us. Nearly every cliché in the film feels cribbed from another movie.” 

“To Each, Her Own” (2018) – 17%

Critic score: 17%

“To Each, Her Own,” originally titled “Les Goûts et les Couleurs,” follows Simone (Sarah Stern) as she musters up the nerve to tell her conservative Jewish family that she’s a lesbian. But when she suddenly finds herself attracted to a man, things get more complicated.

Roger Moore wrote for Movie Nation, “A quaint collection of sexual, racial and cultural stereotypes and clichés packaged as a forward-thinking French romantic comedy.”

“Squared Love” (2021) – 17%

Critic score: 17%

In “Squared Love,” a woman (Adrianna Chlebicka) leading a double life as a teacher and a model catches the eye of a philandering celebrity journalist (Mateusz Banasiuk). But things get complicated when he falls in love with “both” women.

Jeffrey Lyles called the film “needlessly complicated to the point where it feels like the filmmakers have forgotten what they’re doing,” in his review for Lyles’ Movie Files.

“Love and Gelato” (2022) – 22%

Critic score: 22%

In “Love and Gelato,” based on the young-adult romance novel by Jenna Evans Welch, Lina (Susanna Skaggs) sets off on a trip to Italy after her high-school graduation, just like she and her mom always planned before her death. Along the way, she finds romantic interests, her biological father, and a new family. 

Teo Bugbee wrote for The New York Times, “The conscious callowness is agreeable, but it lacks freshness, like a midnight pasta reheated in the microwave.”

“The Kissing Booth 3” (2021) – 25%

Critic score: 25%

In “The Kissing Booth 3,” Elle (Joey King) and Lee (Joel Courtney) try to cram everything from their ultimate beach bucket list into their last summer before college while balancing precarious relationships with Noah (Jacob Elordi) and Rachel (Meganne Young), respectively. 

Every relationship is put to the test in the final installment of the film series.

Caroline Siede wrote for AV Club, “For most of its runtime, ‘The Kissing Booth 3’ is like narrative sand slipping through your fingers.”

“The Kissing Booth 2” (2020) – 27%

Critic score: 27%

“The Kissing Booth 2” picks up right where the first movie left off, as Elle (King) continues to navigate her relationships with her long-distance boyfriend, Noah (Elordi), and her best friend, Lee (Courtney).

However, new people in both Elle and Noah’s lives test the strength of their relationship. 

“Director Vince Marcello leans heavily on montage to get us through this deluge of invented drama which, mercilessly, unspools over more than two hours,” wrote Natalia Winkelman for The New York Times.

“The Last Summer” (2019) – 29%

Critic score: 29%

“The Last Summer” follows the interweaving stories of a group of recent high-school grads throughout their last summer before college.

Griffin (KJ Apa) and Phoebe (Maia Mitchell) sit at the center of the story as they navigate a budding romance alongside family problems. 

Molly Freeman from ScreenRant wrote, “Netflix’s ‘The Last Summer’ is a hodgepodge of better teen movies, failing to say anything new or poignant about the transitionary period to adulthood.”

“Hello, Goodbye, and Everything in Between” (2022) – 29%

Critic score: 29%

In “Hello, Goodbye, and Everything in Between,” Clare (Talia Ryder) and Aidan (Jordan Fisher) had a plan: Date for a year and break up before college. But when senior year wraps up, Aidan isn’t ready to give up what they have and plans an epic date to try to get them to stay together.

Lisa Kennedy wrote for The New York Times, “In the movie’s early nod to the director John Hughes, ‘Hello, Goodbye and Everything In Between’ set a high bar, one it has the talent but not the boldness to clear.”

“Persuasion” (2022) – 30%

Critic score: 30%

In “Persuasion,” based on the popular Jane Austen novel, Anne (Dakota Johnson) is reunited with the man her family wouldn’t let her marry years ago (Cosmo Jarvis). On top of dealing with her family’s impending bankruptcy, Anne navigates their new relationship with all of high society watching. 

Tom Shone wrote for The Times, “There’s nothing wrong with updating Austen, but this isn’t so much updating the book as performing a gut renovation.”

“Irreplaceable You” (2018) – 32%

Critic score: 32%

“Irreplaceable You” tells the story of childhood sweethearts Abbie (Gugu Mbatha-Raw) and Sam (Michiel Huisman), who are now engaged to be married. Their lives take a turn when Abbie receives a shocking diagnosis and is suddenly faced with an uncertain timeline.

“A half-baked tragic love story so desperately engineered to tear-jerk that it ceases to resemble anything human,” wrote Emily Yoshida for Vulture.

“The Wrong Missy” (2020) – 32%

Critic score: 32%

In “The Wrong Missy,” Tim Morris (David Spade) thinks he is texting the girl of his dreams and invites her to his company’s corporate retreat in Hawaii. However, when a particularly terrible past blind date (Lauren Lapkus) shows up to the airport instead, he realizes he was texting the wrong number. 

“It’s almost a shame that the film overall isn’t better and that David Spade doesn’t give half the effort of his co-star — Lapkus is just good enough to show how this movie could have worked,” Brian Tallerico wrote for RogerEbert.com. 

“The Holiday Calendar” (2018) – 33%

Critic score: 33%

“The Holiday Calendar,” follows Abby (Kat Graham) who is stuck in a boring job until a childhood friend (Quincy Brown) returns home and persuades her to seek out a more fulfilling career in photography.

For Christmas, she receives a gift from her grandfather that could fix everything — an antique advent calendar that might be able to predict the future. 

Lea Palmieri from Decider wrote, “This movie is like a sugar cookie: you know exactly what you’re getting, and it has all the right ingredients (love, magic, presents), but it would’ve been even better with a little frosting on top, is all.”

“Silver Skates” (2020) – 33%

Critic score: 33%

In “Silver Skates,” a petty theft (Fedor Fedotov) who skates across the frozen canals of St. Petersburg accidentally crosses paths with a high-ranking official’s daughter, Alice (Sonya Priss). Their love story blossoms as societal standards try to pull them apart.

“This a ‘Titanic’ reboot on ice, with the romantic ingenues far less fleshed out than they were in the famed tragic shipboard romance,” Barbara Shulgasser wrote for Common Sense Media.

“Your Place or Mine” (2023) – 33%

Critic score: 33%

In “Your Place or Mine,” best friends Debbie (Reese Witherspoon) and Peter (Ashton Kutcher) swap houses and lives in LA and New York for a week while Debbie finishes a degree program. But along the way, they find out they haven’t been as honest with each other as they thought. 

Christy Lemire wrote for RogerEbert.com, “The journey is always more important than the destination when it comes to romantic comedies, but there’s barely a twist or detour or even a pothole in the road to make this trip more interesting.”

“Love in the Villa” (2022) – 33%

Critic score: 33%

In “Love in the Villa” recently single teacher Julie (Graham) and serious businessman Charlie (Tom Hopper) are accidentally booked for the same week in a Verona villa. A feud ensues leading to chaos for both until they start seeing eye to eye. 

Noel Murray wrote for the Los Angeles Times, “Too much of ‘Love on the Villa’ is off-the-rack rom-com business, not that different from what’s on the Hallmark Channel 24 hours a day.”

“Love Wedding Repeat” (2020) – 34%

Critic score: 34%

“Love Wedding Repeat” proves to every bride-to-be just how important a well-thought-out seating chart is at a wedding.

Jack (Sam Claflin) tries to ensure his little sister’s (Eleanor Tomlinson) wedding day is perfect as a non-linear narrative follows several alternate versions of the day’s festivities. Despite his attempts, crazy exes, scandals, and lost loves find a way to put a damper on the celebration depending on where the bride’s friends sit for dinner.  

“At least the Italian scenery and the stranded actors look good. Just don’t mistake this charmless, mirthless and shameless ripoff of ‘Four Wedding and a Funeral’ and ‘Groundhog Day’ for a comedy with actual laughs,” wrote Peter Travers for Rolling Stone.

“Purple Hearts” (2022) – 35%

Critic score: 35%

In “Purple Hearts,” Cassie (Sofia Carson) and Luke (Nicholas Galitzine) get married for his military benefits. But over time, the relationship starts to feel less fake. 

Claire Shaffer wrote for The New York Times, “The film wallows in contrived plots and subplots, made worse by the dearth of chemistry between the two leads.”

“The Royal Treatment” (2022) – 35%

Critic score: 35%

“The Royal Treatment” follows New York City hairdresser Izzy (Laura Marano) as she accidentally gets hired to cut a prince’s (Mena Massoud) hair while he’s in town. Refreshed by Izzy’s no-nonsense attitude, Prince Thomas invites her and her two friends to be the official hairdressers for his royal wedding. 

But things get more complicated as Izzy and Thomas spend more time together.

Lindsey Bahr wrote for the Associated Press, “Like a drug store chocolate bar, it just is. It might not be good for you, but it’ll go down shockingly easy, give you a minor sugar high (and possible headache) and disappear from your memory just as quickly.”

“A Christmas Prince: The Royal Baby” (2019) – 36%

Critic score: 36%

“A Christmas Prince: The Royal Baby,” is the third story in the film series.

It’s Christmas again in the kingdom, and this year Amber (Rose McIver) is pregnant with the next royal child. Before she and Richard (Ben Lamb) can take their paternity leave, they must restore the harmony of the 600-year-old treaty between Aldovia and Penglia. 

Helen T. Verongos from The New York Times wrote, “Although it offers a dungeon, a curse and a shocking theft, this flat, anodyne movie is unlikely to join the pantheon of holiday classics, so keep a rein on your expectations and accept that you’ll need something more to salvage the evening.”

“Holiday in the Wild” (2019) – 38%

Critic score: 38%

“Holiday in the Wild,” also known as “Christmas in the Wild,” follows recent empty nester Kate Conrad (Kristin Davis) on what was supposed to be her “second honeymoon” before her husband suddenly ends their relationship. She decides to go on the African safari on her own, where she meets Derek Holliston (Rob Lowe). 

They nurse an orphaned elephant back to life, and Kate starts to fall in love with both Africa and Derek. 

“It’s cheesy, it’s stupid, but it’s also really quite charming,” wrote Stuart Heritage for The Guardian.

“Tall Girl” (2019) – 38%

Critic score: 38%

“Tall Girl,” tells the story of Jodi (Ava Michelle), the tallest girl in school. After she meets an exchange student (Luke Eisner), who is even taller than her, she’s suddenly thrown into the woes of a high-school love triangle.

Through all the drama, Jodi learns how to deal with her insecurities. 

Caroline Siede from AV Club wrote, “From a one-note mean girl stereotype to a complete disinterest in how social media shapes the lives of teens, Sam Wolfson’s lackluster script fails to bring anything new or timely to the teen rom-com table.”

“#RealityHigh” (2017) – 40%

Critic score: 40%

In “#RealityHigh,” stylized as “#REALITYHIGH,” hardworking high schooler Dani (Nesta Cooper) has her heart set on attending UC Davis for veterinary school, but her whole life gets turned upside down when her longtime crush (Keith Powers) starts to notice her.

Things get even more complicated when his social-media-celebrity ex (Alicia Sanz) starts getting in their way. 

Roger Moore wrote for Movie Nation, “Topically tart but cruel, derivative and depressingly adult for a teen comedy.”

“You People” (2023) – 42%

Critic score: 42%

In “You People,” Ezra (Jonah Hill) and Amira (Lauren London) meet and fall in love — much to the chagrin of their stuck-in-their-ways parents. But they find it harder and harder to fit into each other’s worlds as they get closer to their wedding day. 

“The film is much more interested in social embarrassment cringe and gags than it is in any sort of close examination of how racism affects interracial couples,” Noah Berlatsky wrote for the Chicago Reader. 

“So, My Grandma’s a Lesbian” (2019) – 43%

Critic score: 43%

Originally released in Spain in 2019, “So, My Grandma’s a Lesbian” centers on a woman who decides to marry her female best friend — which complicates her relationship with her granddaughter, who’s trying to impress her conservative fiancé and his family.

“By prioritizing a straight perspective, ‘So My Grandma’s a Lesbian!’ pushes its queer protagonists to the sidelines,” Alicja Johnson wrote for Mediaversity Reviews.

“When We First Met” (2018) – 43%

Critic score: 43%

“When We First Met” tells the story of Noah (Adam DeVine), who has the perfect night with his dream girl, Avery (Alexandra Daddario), until he’s “friend-zoned” by her. Three years later, he gets the chance to travel back in time and try to make things right, over and over again.

“It’ll take you roughly five minutes to realize that Noah is going about things the wrong way; it’ll take him more than 90,” wrote David Ehrlich for IndieWire.

“Christmas Inheritance” (2017) – 43%

Critic score: 43%

“Christmas Inheritance” is about a woman (Eliza Taylor) who must deliver a card to a family friend in order to receive her inheritance, but she gets caught in an inn during a snowstorm where she learns the true meaning of Christmas.

“Unlike ‘A Christmas Prince,’ my favorite movie of 2017, it seems to have a self-satisfied earnestness that makes you want to sit it down and go, ‘Hey ‘Christmas Inheritance.’ What exactly do you think you’re doing here?'” wrote Dana Schwartz for Entertainment Weekly.

“Ready to Mingle” (2019) – 44%

Critic score: 44%

Netflix Mexico’s “Ready to Mingle” (also known as “Bachelorettes” and “Solteras”), follows Ana (Cassandra Ciangherotti) as she joins a class for single women after a nasty breakup with her long-term boyfriend. The goal of the class is to help the women find husbands, but in the end, Ana finds herself. 

Brenden Gallagher from The Daily Dot wrote, “Ready to Mingle pulls off the admirable feat of making a marriage rom-com for a generation that isn’t so sure about marriage, and it remains just as skeptical as we do.”

“Holidate” (2020) – 45%

Critic score: 45%

“Holidate” follows strangers Sloane (Emma Roberts) and Jackson (Luke Bracey) as they agree to be each other’s dates for every holiday throughout the year to avoid questions from judgmental family members and absurd expectations from new partners. 

But things get more complicated when it starts to become more than just a platonic agreement. 

Lisa Kennedy wrote for Variety, “‘Holidate’ won’t change your mind about the tread-worn challenges of romantic comedies, but its leads leverage their charms nicely.” 

“Operation Christmas Drop” (2020) – 47%

Critic score: 47%

In “Operation Christmas Drop,” Erica (Graham), a congressional aid, gets sent on an assignment to an Air Force base in Guam the week of Christmas.

Her mission is to find reasons to shut it down — particularly its nonessential holiday pet project — but with the help of the base’s self-proclaimed Christmas expert, Captain Andrew Jantz (Alexander Ludwig), she finds a bit of holiday cheer.

Kyle Turner wrote for The New York Times, “Everything in ‘Operation Christmas Drop’ falls predictably into place like children nestled all snug in their beds. Each plot point and character dynamic appears predetermined, and not in a seasonally charming way.”

“A Christmas Prince: The Royal Wedding” (2018) – 50%

Critic score: 50%

“A Christmas Prince: The Royal Wedding,” follows Amber (McIver) and Richard (Lamb) as they prepare for their royal wedding.

However, Amber begins to question whether she’s ready to become a queen as Richard deals with a political crisis that threatens his kingdom. 

Libby Torres wrote for The Daily Beast, “It’s cheesy, it’s cringey, but most importantly, it’s harmless and worth a watch if you’re in the mood for some mindless holiday cheer.”

“Feel the Beat” (2020) – 50%

Critic score: 50%

In “Feel the Beat,” when Broadway chorus girl April (Carson) is publically humiliated in a viral video, she leaves New York City and flees to her small hometown in Wisconsin.

While she’s home, April is motivated to coach her struggling childhood dance studio through a nationwide competition so she can get another shot at fame. But along the way, the people in the town, especially the dancers and her ex-boyfriend Nick (Wolfgang Novogratz), unfreeze her stone-cold big-city heart. 

Lyndon Barber wrote for Limelight, “I laughed at the comedy, warmed to newcomer Sofia Carson in the lead role, and loved the dance sequences. The sentimental ending? Not so much, but then I’m not in the target audience.”

“A Perfect Pairing” (2022) – 50%

Critic score: 50%

In “A Perfect Pairing,” Lola (Victoria Justice) goes to a sheep farm in Australia to try to impress a major client for her new wine business. But she ends up falling for the ranch hand (Adam Demos) instead.

Courtney Howard wrote for Variety, “Charming, cute and fairly satisfying, it follows the formula for Netflix branded content that’s typically reserved for their holiday films, going down smoothly and pleasing the palate.”

“Good on Paper” (2021) – 53%

Critic score: 53%

In “Good on Paper,” which was inspired by true events, hardworking stand-up comic Andrea (Iliza Shlesinger) meets too-good-to-be-true Dennis (Ryan Hansen). After years of dating without finding a love connection, the skeptical Andrea does everything she can to find out who Dennis really is.

Film critic Carla Renata wrote, “Iliza Schlesinger takes a familiar premise and spins it with stand-up comedy reminding girls sometimes what is good on paper is a hot buttered mess waiting to be exposed.”

“The Princess Switch 3: Romancing the Star” (2021) – 53%

Critic score: 53%

The third installment of the “Princess Switch” franchise follows Queen Margaret (Vanessa Hudgens) and Princess Stacy (also Hudgens) as they ally with Margaret’s scheming cousin Fiona (also Hudgens) to save the Vatican’s stolen Christmas star.

“Anyone who has seen one of these movies can just take over for the characters and guess their lines as easily as the three cousins can swap clothes and accents to impersonate one another,” Helen T. Verongos wrote for The New York Times. 

“The Prom” (2020) – 55%

Critic score: 55%

In “The Prom,” based on the Broadway musical of the same name, a group of Broadway stars visit a small, conservative town in Indiana where a teen is fighting to take her girlfriend to her high-school prom. 

David Fear wrote for Rolling Stone, “This is what it looks like when you ‘Glee’ a beloved Broadway production to death.”

“A Week Away” (2021) – 56%

Critic score: 56%

In the movie-musical “A Week Away,” Will Hawkins (Kevin Quinn) gets sent to a Christian summer camp after a run-in with the law.

Against all odds, camp regular Avery (Bailee Madison) helps him find the sense of belonging he’d been searching for most of his life.

Amy Nicholson wrote for The New York Times, “This is a film as tidy, transparent and kid-friendly as a square of Jell-O salad, and so squishily eager-to-please that it doesn’t engage with its religious themes so much as tuck them into song lyrics to hover in the narrative like grapes.”

“The Last Letter From Your Lover” (2021) – 56%

Critic score: 56%

Based on the novel by Jojo Moyes, “The Last Letter From Your Lover” follows journalist Ellie Haworth (Felicity Jones) as she uncovers secret love letters from the 1960s.

While the mystery of Jennifer Stirling (Shailene Woodley) and Anthony O’Hare’s (Callum Turner) forbidden love unfolds, Ellie finds herself in her own love story.

“An endearing and consuming, but by no means surprising, dual-timeline love story — perfectly suitable for a Friday night,” Lovia Gyarkye wrote for the Hollywood Reporter.

“Live Twice, Love Once” (2020) – 56%

Critic score: 56%

Originally released on Netflix Spain in 2019, “Live Twice, Love Once” (also called “Vivir Dos Veces”), tells the story of Emilio (Oscar Martínez), who is trying to reconnect to the love of his younger life. His daughter and granddaughter accompany him on this journey as they race against time for true love. 

“It’s earnest, well-meaning, entirely watchable and utterly forgettable,” wrote John Serba for Decider. 

“Afterlife of the Party” (2021) – 56%

Critic score: 56%

In “Afterlife of the Party,” Cassie (Justice) is the ultimate social butterfly until she tragically dies in a freak accident. 

In order to earn her angel wings, she has to right all of her wrongs on Earth.

“It’s full of awkward smiles and jumpy pacing, as if everyone is in a hurry to wrap up and go home,” Christy Lemire wrote for RogerEbert.com. 

“The Princess Switch: Switched Again” (2020) – 56%

Critic score: 56%

The sequel, “The Princess Switch: Switched Again,” finds Duchess Margaret (Hudgens) and Kevin (Nick Sagar) in a rough patch in their relationship.

Luckily, Stacy (also Hudgens) is there to swoop in and try to help them patch things up. But things take a turn when another look-alike, party girl Fiona (also Hudgens), screws with her plans.

Dennis Harvey wrote for Variety, “Though inevitably the formula wears a little thinner in spots this time, it’s a frothy fantasy that should satisfy viewers’ itch for confectionary-looking Christmas fluff.”

“Love Hard” (2021) – 57%

Critic score: 57%

In “Love Hard,” Josh (Jimmy O. Yang) catfishes Natalie (Nina Dobrev) from across the country. But when she surprises him for Christmas everything blows up in his face. 

As an apology, Josh tries to help Natalie date Tag (Darren Barnet) while keeping up the ruse of their fake relationship for his family. 

Courtney Howard wrote for Variety, “The ensuing shenanigans not only do our heroine a massive disservice by letting men manipulate her agency — they also cause us to question what exactly we’re rooting for.”

“Along for the Ride” (2022) – 57%

Critic score: 57%

In “Along for the Ride,” based on the young-adult novel by Sarah Dessen, Auden (Emma Pasarow) tries to reinvent herself while visiting her dad in the beach town of Colby. Along the way, she meets a fellow insomniac, Eli (Belmont Cameli), who helps her with her quest.

Nell Minow wrote for RogerEbert.com, “Dessen gracefully bypasses the too-frequent plot lines about mean girls or misunderstandings, and it is heartening to see smart, confident young women supporting each other.”

“Love, Guaranteed” (2020) – 58%

Critic score: 58%

“Love, Guaranteed” follows determined lawyer Susan (Rachael Leigh Cook) — who’s struggling to pay the bills after one too many pro-bono clients — as she takes on a high-profile case for Nick (Damon Wayans Jr.).

He’s suing an online dating platform that “guarantees” love after going on 1,000 unsuccessful first dates, but things get more complicated when Susan and Nick’s budding feelings toward each other get in the way of the case. 

Lisa Kennedy wrote for Variety, “If likability is a trait you value, ‘Love, Guaranteed’ delivers the undemanding pleasure of watching two fundamentally decent people tumble into fondness and then love.”

“A California Christmas” (2020) – 60%

Critic score: 60%

In “A California Christmas,” Joseph (Josh Swickard) poses as a farmhand and tries to persuade Callie (Lauren Swickard) to sell her family’s failing farm so that he can get a promotion at work.

But the more time he spends with her, the harder it is to go through with his plan.

Roger Moore wrote for Movie Nation, “A pleasant little nothing that would be right at home in Hallmark’s holiday flirtations over fruitcake romances.”

“Resort to Love” (2021) – 61%

Critic score: 61%

In “Resort to Love,” aspiring pop star Erica (Christina Milian) is accidentally booked to perform at her ex-fiancés (Jay Pharoah) wedding. But things get even more complicated when she realizes she’s not over him.

Monica Castillo wrote for RogerEbert.com, “‘Resort to Love’ offers a cute love story starring attractive leads, but it has the look and feel of a vacation on a budget.”

“Sierra Burgess Is a Loser” (2018) – 61%

Critic score: 61%

“Sierra Burgess Is a Loser” is about an unpopular high-school student (Shannon Purser) who gets caught up in an unexpected romance when her crush (Noah Centineo) thinks she’s someone else. She must then team up with the most popular girl in school to win him over.

Despite audiences’ numerous problems with the film, many critics rated it highly. 

Kate Walsh from Los Angeles Times wrote, “The smart script and butterfly-inducing romance captures those sweet moments of falling in love — whether it’s with your crush, or even better, with a friend.”

“Falling for Christmas” (2022) – 61%

Critic score: 61%

“Falling for Christmas” follows heiress Sierra (Lindsay Lohan) as she loses her memory in a skiing accident right after her influencer boyfriend (George Young) proposes to her. Luckily, local inn owner Jake (Chord Overstreet) finds her and takes her in. 

Sandra Gonzalez wrote for CNN, “Some actors shoot for Oscars, and that’s great. Lohan’s magic power has always been bringing to life films that have the simple goal of being unchallenging delights. If for that and that alone, ‘Falling for Christmas’ is a gift.”

“Look Both Ways” (2022) – 62%

Critic score: 62%

In “Look Both Ways,” Natalie’s (Lili Reinhart) life splits down two different paths on the night of her college graduation: One where she has a baby and one where she doesn’t.

Both versions of Natalie, one caring for a child in her hometown in Texas and the other pursuing her dream animation career in LA, face romantic troubles, drama, and stress. But they each find their way. 

Adrian Horton wrote for The Guardian, “There is a disarming sincerity to Reinhart’s performances; she is never less than believable on-screen, even if the story around her falters.”

“Tall Girl 2” (2022) – 63%

Critic score: 63%

In “Tall Girl 2,” Jodi (Michelle) navigates keeping her relationships afloat while dealing with the pressure of landing the lead in the school musical.

“‘Tall Girl 2’ wants audiences to project their own insecurities onto Jodis lanky frame. But it fobs off self-absorption as introspection. The plot is scattershot; the drama ant-size,” Amy Nicholson wrote for The New York Times.

“I Love You, Stupid” (2020) – 63%

Critic score: 63%

“I Love You, Stupid” (originally “Te Quiero, Imbécil”) centers on Marcos (Quim Gutiérrez) who gets dumped by his longtime girlfriend while proposing to her. Soon after, he loses his job and is forced to move back home with his parents. 

While he’s home, Marcos takes advice from an online guru (Ernesto Alterio) and a childhood friend (Natalia Tena) and tries to reinvent himself.

Rich Cline wrote for Shadows on the Walls, “While the romcom plot feels familiar, the script drops knowing observations into each scene, touching on some deeper themes along that make the characters easy to identify with.”

“Eurovision Song Contest: The Story of Fire Saga” (2020) – 63%

Critic score: 63%

In “Eurovision Song Contest: The Story of Fire Saga,” after a tragic accident kills the other Icelandic contestants, goofy musical duo Fire Saga made up of childhood friends Lars (Will Ferrell) and Sigrit (Rachel McAdams) represent the country at the Eurovision Song Contest. 

The film was filled with ridiculous plot points, but many critics still found it entertaining.

“How do you out-silly, out-camp and out-kitsch the Eurovision Song Contest? Well, obviously you don’t, but a good place to start is with Will Ferrell in a succession of terrifying Lycra jumpsuits, some truly preposterous narrative diversions,” Kevin Maher wrote for The Times.

“The Awakening of Motti Wolkenbruch” (2018) – 63%

Critic score: 63%

In “The Awakening of Motti Wolkenbruch,” Motti (Joel Basman) is supposed to be looking for an Orthodox Jewish woman to marry. But instead, he falls for his classmate Laura (Noémie Schmidt), who his mother doesn’t approve of.

Roger Moore wrote for Movie Nation, “Not without a little cultures-clash rom-com charm, but more grating and over-familiar than anything else.”

“Unicorn Store” (2019) – 65%

Critic score: 65%

In “Unicorn Store,” Kit (Brie Larson) is forced to move back in with her parents after getting kicked out of art school. Set in her ways of never wanting to grow up, she meets a mysterious man (Samuel L. Jackson) who grants her greatest wish by letting her adopt a unicorn. 

“Unicorn Store is weird and funny, sweet and fearless, and it’s another opportunity to see a fine young actress at work,” wrote Linda Holmes for NPR.

“Christmas With You” (2022) – 65%

Critic score: 65%

In “Christmas With You,” pop star Angelina (Aimee Garcia) makes a last-ditch effort to get back in good graces with her record label by surprising a young fan (Deja Monique Cruz) with a home visit. But she ends up spending more time writing a new song with the fan’s father, Miguel (Freddie Prinze Jr.). 

Noel Murray wrote for the Los Angeles Times, “Garcia and Prinze are so likable that it’s satisfying to see them spend an hour or so of screen time figuring out what the audience knows right away.”

“The Lovebirds” (2020) – 66%

Critic score: 66% 

In “The Lovebirds,” struggling couple Jibran (Kumail Nanjiani) and Leilani (Issa Rae) get wrapped up in an elaborate murder investigation on their way to a dinner party. While they are trying to clear their names, their lives and their relationship are put to the ultimate test. 

“The way ‘The Lovebirds’ executes this old template is largely unremarkable, so the fact that it works anyway is a testament to its leads’ star power,” wrote Sam Adams for Slate.

“The Perfect Date” (2019) – 67%

Critic score: 67%

“The Perfect Date” follows Brooks Rattigan (Noah Centineo) as he runs an app that allows him to be a fill-in partner for any person who needs a date so he can save up money to attend college.

The film also stars Laura Marano and Camila Mendes. 

Constance Grady from Variety wrote, “It’s a perfectly middle-of-the-road teen flick, and it is notable mostly because it gives [Noah] Centineo plenty of opportunities to do what he does best: gaze longingly at girls.”

“Ibiza” (2018) – 67%

Critic score: 67%

“Ibiza” tells the story of Harper (Gillian Jacobs), whose two best friends accompany her on her work trip to Barcelona — but the group tricks her into flying to Ibiza instead so Harper can pursue a DJ (Richard Madden) she’s fallen for.

“This hangout flick doesn’t just embrace gross-out girl comedy cliches, it sticks Jacobs in the air roof of a limousine screaming, ‘Whooo! I am a total cliché right now and I don’t f—ing care!'” wrote Amy Nicholson for Variety.

“The Princess Switch” (2018) – 67%

Critic score: 67%

“The Princess Switch” stars Vanessa Hudgens, and follows Margaret, Duchess of Montenaro, who switches places with Stacy, a random girl from Chicago who happens to look exactly like her.

The two end up falling in love with people from each other’s lives — one, a handsome co-worker, and the other, a prince.

Linda Holmes from NPR wrote, “Everyone in A Princess Switch does just fine: Hudgens has a lot of fun, particularly as Stacy (fake accent aside), Sagar and Palladio are charming in different ways, and they manage to bring the whole thing in for an appropriately silly ending.” 

“Seriously Single” (2020) – 67%

Critic score: 67%

“Seriously Single” follows Dineo (Fulu Mugovhani) after the man she thought would be her future husband dumps her and kicks her out.

Her commitment-phobic best friend takes her in and tries to persuade her to take advantage of single life, but when she unexpectedly falls for a man, Dineo is left to her own devices.

“‘Seriously Single’ offers simple pleasures, and makes it easy to enjoy this girls’ night out,” Teo Bugbee wrote for The New York Times.

“Nappily Ever After” (2018) – 67%

Critic score: 67%

“Nappily Ever After,” tells the story of Violet (Sanaa Lathan) as her life unravels one string at a time leaving her alone — and bald. Violet must learn to love herself in order to regrow from the ashes of her life. 

Robyn Bahr from The Hollywood Reporter wrote, “Bildungsroman disguised as rom-com, the refreshing script much more concerned with its heroine’s emotional arc and personal growth than her ultimate relationship status.”

“The Knight Before Christmas” (2019) – 67%

Critic score: 67%

“The Knight Before Christmas” follows small-town science teacher Brooke (Hudgens) as she helps a time-traveling, medieval knight (Josh Whitehouse) fulfill his quest are return home. However, as they spend more time together, Sir Cole starts to wonder if he really wants to go back. 

“Because of its endearing and hopeful message, ‘The Knight Before Christmas’ makes a worthy addition to Netflix’s catalog of Christmas originals-and it’s a strong seasonal watch,” Tess Cagle wrote for The Daily Dot.

“Falling Inn Love” (2019) – 68%

Critic score: 68%

“Falling Inn Love” follows Gabriela Diaz (Milian) after her design firm goes under in the midst of her breakup.

While drowning her sorrows, Diaz enters and wins a contest for an inn in New Zealand. Once she gets there though, it’s clear that the project is going to take more work than she thought.

With the help of her neighbor, a local contractor, she fixes up the inn and her broken heart.

“‘Falling Inn Love’ keeps its promise warmly, but without the least pretense of sophistication,” wrote Helen T. Verongos for The New York Times. 

“Single All the Way” (2021) – 68%

Critic score: 68%

“Single All the Way” follows Peter (Michael Urie) as he convinces his best friend/roommate Nick (Philemon Chambers) to pretend to be his boyfriend when he traveled home for Christmas.

But Peter is soon stuck in a real and unexpected love triangle with Nick and townie James (Luke MacFarlane).

“Veteran TV writer Chad Hodge’s self-aware script acknowledges all the tropes — gay and holiday — while continuing to employ them effectively,” Carla Meyer wrote for the San Francisco Chronicle. 

“The Noel Diary” (2022) – 69%

Critic score: 69%

Based on the book by Richard Paul Evans, “The Noel Diary” centers on author Jake Turner’s (Justin Hartley) return to his hometown to settle his mother’s estate. But in the process, he comes across a diary and teams up with Rachel (Barrett Doss) to discover his family’s true history. 

Noel Murray wrote for the Los Angeles Times, “Ditch the mistletoe and holly and it would still be a well-crafted, well-balanced character sketch, following two lost souls as they discover what they’ve been missing.”

“XOXO” (2016) – 71%

Critic score: 71%

In “XOXO,” the lives of six people — a new DJ and his best friend, a hopeless romantic, a washed-up has-been, and a struggling couple — are thrust together for one night at the biggest EDM festival in America.

“Most of ‘XOXO’s’ plot may be as predictable as an EDM song, but it too offers pleasures to those willing to give themselves over to its rhythms,” Nick Murray wrote for The Village Voice.

“Candy Jar” (2018) – 71%

Critic score: 71%

In “Candy Jar,” debate rivals Bennett (Jacob Latimore) and Lona (Sami Gayle) are forced to compete together in order to get into their dream colleges. But when they realize they have more in common then they thought, they start to fall for each other.

Film critic Jeffrey Lyles wrote, “Candy Jar is a surprisingly sweet and touching teen romance drama that goes down easy and had me craving seconds.”

“A Castle for Christmas” (2021) – 74%

Critic score: 74%

“A Castle for Christmas” centers on an American author Sophie (Brooke Shields), who takes a holiday vacation to Scotland in search of the castle her grandfather used to always tell stories about.

The only thing that stands in her way of buying the beautiful property is the grumpy duke (Cary Elwes) who owns it. 

“Its sincere, aspirational sentiments about it never being too late to write your own second chapter feel genuinely meaningful,” Courtney Howard wrote for Variety. 

“To All the Boys: P.S. I Still Love You” (2020) – 76%

Critic score: 76%

“To All the Boys: P.S. I Still Love You” is the second film in the Netflix series based on the books by Jenny Han.

Lara Jean (Lana Condor) and Peter Kavinsky (Noah Centineo) are trying to figure out how to be a real couple in the wake of their fake relationship when the final recipient of Lara Jean’s letters, John Ambrose McClaren (Fisher), returns to her life and makes things even more complicated. 

“‘To All the Boys: PS I Still Love You’ doesn’t quite match its predecessor for heart fizzing romance … but it’s just as entertaining and charming anchored by a supremely likable central performance from Condor,” wrote Ann Lee for The Guardian.

“To All the Boys: Always and Forever” (2021) – 79%

Critic score: 79%

In the final installment of the “To All the Boys” trilogy, Lara Jean (Condor) and Peter’s (Centineo) relationship is put to the test again as they face college decisions, prom, and high-school graduation.

“Though it doesn’t entirely recapture the lightning-in-a-bottle magic of the original, ‘To All The Boys: Always And Forever’ is a worthy sendoff for this well-loved series,”  Caroline Siede wrote for the AV Club.

“I Am Not an Easy Man” (2018) – 80%

Critic score: 80%

“I Am Not an Easy Man,” also known as “Je Ne Suis Pas Un Homme Facile,” was originally released on French Netflix in 2018.

The story centers on shameless misogynist Damien (Vincent Elbaz), who wakes up one day to find that men and women have reversed roles in society. 

In this new world, he finds himself constantly butting heads with author Alexandra Lamour (Marie-Sophie Ferdane). 

“I laughed and laughed at this gender-reversal sex farce. This director knows where to stick her satiric knife,” wrote Roger Moore for Movie Nation. 

“Alex Strangelove” (2018) – 81%

Critic score: 81%

“Alex Strangelove” is about a high-school senior (Daniel Doheny) and his journey of sexual exploration as he gets caught in a love triangle between his girlfriend, Claire (Madeline Weinstein), and a boy he meets from the other side of town named Elliott (Antonio Marziale).

“‘Alex Strangelove’ is witty, compassionate and enjoyable throughout; a charming movie and in many respects an enlightened one,” wrote Glenn Kenny for The New York Times.

“Let It Snow” (2019) – 81%

Critic score: 81%

Based on the short stories by John Green, Lauren Myracle, and Maureen Johnson, “Let It Snow” follows the interweaving plots of a group of teenagers living in a small, Midwestern town.

They’re forced to deal with friendship problems, stranded pop stars, an odd woman (Joan Cusack) in a tin-foil hat, and new love that all culminated in a Christmas Eve party at the local Waffle Town. 

“A film as festive as it is familiar — and also surprisingly hard to resist,” wrote Benjamin Lee from The Guardian. 

“Someone Great” (2019) – 83%

Critic score: 83%

In “Someone Great,” Jenny (Gina Rodriguez) gets an amazing opportunity at a famous magazine in San Francisco. The only problem is that her boyfriend (Lakeith Stanfield), who’s staying in New York, breaks up with her because he doesn’t want to go long-distance.

In order to cheer Jenny up, her best friends take her out for a wild final night in New York. 

Leah Greenblatt from Entertainment Weekly wrote, “[Jennifer Kaytin] Robinson’s big-screen debut feels like a newer breed of movie: the scrappy female-POV in which the love story at the center is as much about friendship or the face in the mirror as it is about any one man.”

“Happy Anniversary” (2018) – 83%

Critic score: 83%

“Happy Anniversary” is about Sam (Ben Schwartz ) and Mollie (Noel Wells), who have been a couple for three years, and must decide whether they should stay together or not.

“It is a rare rom-com about what happens after the meet-cute and ensuing honeymoon phase, and it sincerely captures the restlessness that comes when external forces are putting pressure on your relationship,” wrote Jade Budowski for Decider.

“Lady J” (2019) – 85%

Critic score: 85%

“Lady J,” the French Netflix original rom-com originally titled “Mademoiselle de Joncquières,” centers on Madame de La Pommeraye (Cécile de France), who seeks revenge on her longtime lover Marquis des Arcis (Édouard Baer) when he breaks up with her. 

In order to make him pay for wasting her time, Madame de La Pommeraye enlists the help of two prostitutes, Madame de Joncquières (Natalia Dontcheva) and her daughter (Alice Isaaz). 

Helen T. Verongos wrote for The New York Times, “[Emmanuel] Mouret manipulates our sympathies effortlessly as the story zigzags its way… to its ultimately surprising and quite satisfying resolution.”

“Work It” (2020) – 85%

Critic score: 85%

In “Work It,” after high-school senior Quinn (Sabrina Carpenter) gets caught up in a lie during her college interview at her dream school, she’s forced to start her own dance crew with her best friend Jasmine (Liza Koshy) and a ragtag group of classmates.

Along the way, she meets Jake (Fisher), an injured former dance legend, who becomes the team’s choreographer and helps Quinn get out of her head. 

Richard Roeper wrote for the Chicago Sun-Times, “There’s little in the way of originality in ‘Work It,’ but there’s a fresh, upbeat, infectious vibe to the silliness, thanks in large part to the talented and likable cast of young actors.”

“Win It All” (2017) – 85%

Critic score: 85%

“Win It All” follows Eddie (Jake Johnson) as he agrees to hold on to a duffle bag for a friend who’s heading to prison. But once he realizes it’s full of cash, the gambling addict can’t resist the temptation to borrow some of the funds.

As he scrambles to win back the money he inevitably ends up losing before his friend’s prison sentence is up, he meets Eva (Aislinn Derbez), who helps him get his life back on track.

“‘Win It All’ is a small character drama that, through improvisation, renders relationships impeccably; it’s at once specific and universal,” Max Cea wrote for Salon.com.

“Love and Leashes” (2022) – 86%

Critic score: 86%

In the Korean romantic comedy “Love and Leases,” coworkers Ji Hoo (Joon-Young Lee) and Ji Woo (Seohyun) enter into a contractual intimate relationship based on play, pleasure, and pain.

James Marsh wrote for South China Morning Post, “What emerges is a relatively sweet and well-meaning workplace romance between a pair of wholesome, fresh-faced leads that delivers some chaste fuzzy feels, but does so almost in spite of its supposedly salacious subject matter.”

“Wedding Season” (2022) – 87%

Critic score: 87%

In “Wedding Season,” Asha (Pallavi Sharda) and Ravi (Suraj Sharma) pretend to date so the aunties of the community stop trying to set them up. But real feelings, family meddling, and career goals make everything more complicated. 

Owen Gleiberman wrote for Variety, “If the comedy here is mostly routine, the romance is another thing. It really does work, because the actors don’t just phone in the love story — they dance with it, commit to it, and own it.”

“Our Souls at Night” (2017) – 89%

Critic score: 89%

“Our Souls at Night” is based on the best-selling novel written by Kent Haruf.

It tells the story of Addie Moore (Jane Fonda), a longtime widower, who tries to establish a connection with her widowed neighbor (Robert Redford) to make the most of the rest of the time they have.

“Much of this is too hokey by half, yet the two leading actors, their skills unfaded, command your attention to the end,” wrote Anthony Lane for The New Yorker.

“The Incredible Jessica James” (2017) – 89%

Critic score: 89%

“The Incredible Jessica James,” tells the story of a recently dumped playwright (Jessica Williams) who ends up bonding with a man who was also recently dumped (Chris O’Dowd).

Jade Budowski from Decider wrote, “The fresh, genuinely funny rom-com will make you feel a lot of things, and you’ll undoubtedly emerge wishing that Williams was your best friend.” 

“Always Be My Maybe” (2019) – 89%

Critic score: 89%

“Always Be My Maybe” follows Sasha (Ali Wong) and Marcus (Randall Park), who grew up as best friends. They had a riff in their teenage years and lost touch only to be reunited years later when Sasha is on the rise as a celebrity chef and Marcus is trying to figure out his next move. 

Peter Travers from Rolling Stone wrote, “An Asian-Asian romance is rare in Hollywood, making this romantic romp both irresistible and quietly revolutionary. No maybes about the dream team of Ali Wong and Randall Park, they’re too good to miss.”

“Enola Holmes” (2020) – 91%

Critic score: 91%

“Enola Holmes” centers on the teenage sister, Enola (Millie Bobby Brown), of famous detective Sherlock Holmes (Henry Cavill). When her mother, and sole companion, suddenly disappears, Enola escapes from her two older brothers’ watchful eye and puts all her training to the test as she sets out to find her.

However, on her way, she crashes courses with a young lord (Louis Partridge) who’s in desperate need of saving. 

“‘Enola Holmes’ offers brisk and exuberant escape from the heaviness of modern times, with its leading actress lending her own appealing touches to the journey,” Anne Hornaday wrote for The Washington Post. “When the game is afoot, she’s more than capable, not just of keeping up, but winning the day.”

“Tramps” (2016) – 92%

Critic score: 92%

“Tramps” follows Danny (Callum Turner) and Ellie (Grace Van Patten) as they are thrust into a shady deal orchestrated by a New York hustler (Mike Birbiglia).

They’re forced to run around the city to set the deal right, and the wilder the adventure gets, the closer they are drawn together. 

David Rooney from The Hollywood Reporter wrote, “A small-scale work that owes its charm to the freshness, relaxed intimacy and unforced humor of its character interplay, and to the warm feel for the environments through which they move.”

“Enola Holmes 2” (2022) – 94%

Critic score: 94%

In “Enola Holmes 2,” Enola (Brown) opens her own detective agency and picks up the case of the missing Sarah Chapman (Hannah Dodd). But she’s soon in over her head trying to take down a major London factory and is forced to turn to Tewkesbury (Louis Partridge) and her brother Sherlock (Henry Cavil) for help.

Kimber Myers wrote for Crooked Marquee, “Even though it’s a sequel, set in a familiar world with characters who have appeared on screen in countless iterations, ‘Enola Holmes 2’ still manages to feel fresh.”

“The Half of It” (2020) – 97%

Critic score: 97%

“The Half of It” centers on Ellie Chu (Leah Lewis), who tries to help a jock (Daniel Diemer) write a love letter to his crush (Alexxis Lemire) for some extra cash. But things get complicated when Ellie develops feelings for the same girl. 

Christy Lemire wrote for RogerEbert.com, “By telling a personal tale inspired by elements of her own young life, [Alice] Wu achieves both singularity and universality. And it helps a great deal that the actress functioning as her stand-in has such a smart and compelling screen presence.”

“Catching Feelings” (2017) – 100%

Critic score: 100%

“Catching Feelings,” centers on Johannesburg-based couple Max (Kagiso Lediga) and Sam (Pearl Thusi) who spice up their monotonous married life by welcoming a renown writer into their home. But the hedonistic guest only drives a wedge between them.

“The sex scenes are daring for local cinema … and so is the dialogue, which makes you laugh and think, without being preachy,” Phumlani S. Langa wrote for City Press.

Note: All scores were current on the date of publication and are subject to change. Films without critical ratings were not included. Netflix’s originals generally consist of both content created by the streaming service and content exclusive to the platform.

Shelby Slauer contributed to an earlier version of this article.

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