I went into Love From 9 to 5 expecting a light, easy Netflix rom-com, and that expectation was mostly met, sometimes exceeded, and occasionally tested. This is the kind of show that knows exactly where it belongs on the shelf and does not pretend otherwise. It’s glossy, self-aware, mildly chaotic, and clearly designed for viewers who want something entertaining without needing to emotionally recover afterward. That said, it also has enough ambition to flirt with commentary on merit, privilege, and corporate power, even if it doesn’t always follow through as cleanly as it could.
At the center is Graciela, the classic overqualified, under-credited employee who knows the company inside out and has spent years being competent in a way that never quite earns her authority. She is smart, driven, and visibly tired of explaining herself to men who discovered the company logo last week. Mateo, on the other hand, is the boss’s son, armed with charm, confidence, and a résumé that screams “networking did the heavy lifting.” Their rivalry is professional on the surface but deeply personal underneath, and the film wastes no time throwing them into competition for the top job.
What works immediately is the banter. The dialogue between Graciela and Mateo is sharp enough to keep scenes moving, and the actors clearly understand the assignment. Ana González Bello plays Graciela with restraint, never pushing her into caricature territory. She feels like a real person navigating an unfair system rather than a motivational poster with good lighting. Diego Klein’s Mateo could have easily become unbearable, but he manages to balance entitlement with just enough self-awareness to keep the character watchable. You don’t always like him, but you do understand why he exists in this story.
The office setting is used effectively, especially in the first half. Meetings, presentations, and awkward hallway encounters are mined for humor without turning the workplace into a cartoon. There’s a clear understanding of how power dynamics operate in corporate spaces, particularly when legacy privilege clashes with actual competence. The show is at its best when it leans into these everyday absurdities instead of manufacturing unnecessary drama.
That said, the pacing is uneven. There are stretches where the story feels like it’s circling the same emotional beats without progressing them. The competition for the CEO role should feel high-stakes, but the show sometimes undermines its own tension by treating it as a backdrop rather than a driving force. You’ll find yourself more invested in whether Graciela finally gets credit for her work than in the actual mechanics of who wins the job, which is both intentional and slightly sloppy.
Romantically, the film is charming but cautious. The chemistry is there, and when it works, it really works. The slow shift from rivalry to attraction feels earned, especially because neither character suddenly becomes unrecognizable once feelings enter the picture. However, the show occasionally falls back on familiar rom-com shortcuts: misunderstandings that could be solved with a single conversation, emotional setbacks timed too conveniently, and conflicts that exist mostly because the runtime demands them.
The supporting characters add texture, even if they’re not all fully developed. Office colleagues provide comic relief, gossip fuel, and the occasional voice of reason. Some subplots feel like filler, particularly those involving side characters whose arcs never quite justify the screen time they receive. A few scenes drag longer than necessary, and there are moments when you can almost feel the script padding itself to maintain momentum.
Visually, the film is polished. The office spaces are vibrant rather than sterile, and the overall aesthetic supports the tone: modern, upbeat, and slightly aspirational. The direction keeps things moving with clean transitions and well-timed reaction shots, which helps maintain energy even when the writing softens. It’s not visually groundbreaking, but it is competent in a way that serves the story instead of distracting from it.
Where Love From 9 to 5 stumbles most is in its thematic follow-through. It raises interesting questions about merit versus nepotism, workplace gender dynamics, and professional identity, but it rarely digs deeper than surface-level acknowledgment. These ideas are present, sometimes clearly, sometimes as background noise, but they aren’t explored with the depth they deserve. The show seems more comfortable flirting with these issues than committing to them, which can feel like a missed opportunity rather than a flaw.
The final act attempts to balance romance, professional resolution, and personal growth, and while it mostly lands, it does so without much surprise. You can see most of the emotional beats coming well in advance. That doesn’t ruin the experience, but it does flatten the impact. The resolution is satisfying enough, though it plays things safe, choosing comfort over risk.
Overall, Love From 9 to 5 is a solid rom-com that understands its audience and delivers on most of its promises. It’s funny without trying too hard, romantic without becoming syrupy, and smart enough to feel intentional even when it stumbles. The flaws are noticeable but not fatal, and the strengths are consistent enough to carry the film through its weaker moments. If you’re looking for a sharp, lighthearted workplace romance with a bit of bite and a lot of charm, this one earns its place in the Netflix scroll.
Final Score- [6.5/10]
Reviewed by - Anjali Sharma
Follow @AnjaliS54769166 on Twitter
Publisher at Midgard Times