TheWrap by Martin Tsai

Everything about this one is lovely and magical, but it’s also deeply heartfelt.

The Independent

The tone is distinctly feelgood, but the film, directed by Shekhar Kapur, thoughtfully explores the different ways that relationships can be built, and what cultures can teach one another.

Screen Daily by Wendy Ide

The film’s authenticity comes not so much from the parties and celebration, and certainly not from the documentary device, but from the emotional connection between Kaz and Zoe; the way he leans slightly towards her as he translates the words of a traditional love song, the brief loaded pause when their eyes lock.

The Hollywood Reporter by Michael Rechtshaffen

What’s Love Got To Do With It? serves as a master class in how to adhere faithfully to the classic romantic-comedy template and yet still emerge with something that delivers delightfully on both sides of the hyphen.

The Irish Times by Donald Clarke

Khan, like her documentarist heroine, clearly seeks to offer a balanced take on arranged marriage – opening non-Muslim viewers up to their own prejudices while admitting the restrictions. That balance proves, however, difficult to sustain in a genre that relies on a desperate, final rush to the airport (or whatever) as soul mates admit their attraction.

Time Out

The non-judgmental message – that there are endless routes to finding love and that no one owns the map – may not be revolutionary, but Jemima Khan’s modern, personal spin on the concept gives it a likeable new freshness.

The Guardian by Benjamin Lee

Khan’s script is one of competency rather than creativity: a sound structure, a propulsive pace and a learned awareness of genre conventions but dialogue that often feels a little first draft, a little placeholder-heavy, zingers not really zinging quite as they should.

Little White Lies

Romantic comedies are meant to be cringe-y and based on morally questionable conundrums, but James and Latif’s individual charms and dynamic is undone by the way their characters’ choices make them feel lost in a way that is completely unrelatable.

The Playlist by Marya E. Gates

Wearing its influences on its sleeve, the rom-com aims to show where arranged marriage traditions and modern dating habits can fit in a multicultural modern Britain. Unfortunately, it can’t shake the screenwriter’s white gaze.

Empire by Helen O'Hara

A likeable cast and colourful depiction of Pakistani (and Pakistani-British) culture makes this look warm and inviting, but the central romance can’t hold our attention as it should.