The idea that copying something can be a compliment doesn't hold true when that imitation becomes too similar, and much of the appeal is lost. That’s essentially what went wrong with this eagerly awaited romantic comedy from director Kat Coiro, who previously worked on short films, music videos, and television projects. Halle Bailey plays Anna, a young woman hoping to become a chef who has been stuck in a rut as a New York City house sitter since the death of her mother, who inspired her culinary ambitions. Beyond the grief, she desperately needs to get her life back on track and start living the way she truly wants. However, because she avoids taking responsibility for herself, she finds herself sinking deeper into financial difficulties, poor choices, and a lack of direction. A chance encounter with Matteo (Lorenzo de Moor), a handsome, wealthy Italian real estate magnate who travels the world, leads her on an unplanned adventure with romantic possibilities, prompting her to impulsively visit his beautiful but empty Tuscan villa (again, another questionable decision). Anna hopes this trip will help her change her life, but she quickly realizes things are more complicated than she anticipated when she has to invent a story explaining why she’s suddenly taken over Matteo's home, facing questions from his family who care for the property while he’s away. Her explanation? She is Matteo’s fiancée, which leads to a warm welcome (all unbeknownst to him). Meanwhile, Anna meets and begins to develop feelings for Matteo’s adopted brother, Micheal (Regé-Jean Page), a handsome Tuscan vineyard owner, and his attraction to her is mutual. But how does she explain this now that sparks are flying between her and her supposed fiancé’s sibling? This sets the stage for what follows, all set against the backdrop of the beautiful Tuscan countryside, a lively local summer festival, and time spent with the brothers' amusingly eccentric relatives (arguably the film’s best part). The main problem is that the story isn't particularly original; it borrows from other Italian romantic comedies like “Moonstruck” (1987) and “Under the Tuscan Sun” (2003), both of which told their stories more effectively, making this one seem less impressive by comparison. Furthermore, "You, Me & Tuscany" isn’t very funny either, a crucial element that should be present in a romantic comedy. Humor is scarce throughout the film. Ultimately, it feels like something you'd see on Lifetime, We TV, or The Hallmark Channel – acceptable but ultimately lightweight entertainment that lacks freshness, innovation, and real engagement. Perhaps I shouldn't have expected more, but it seems the filmmakers could have tried harder to create something less predictable, formulaic, sentimental, and sometimes unbelievable. Some are calling this a perfect date night movie, but for me, its failure to truly draw viewers in feels more like background noise—something to watch on a Friday night while relaxing on the couch in sweatpants with some candy, a romcom that’s hard to get excited about.

Source on TMDB