The film stars Emma Roberts, Hayden Christensen, Alyssa Milano, Adam Ferrara, Gary Basaraba, Linda Kash, Andrew Phung, Cristina Rosato, Danny Aiello, Andrea Martin and Jane Seymour.

Nikki eventually trains to become a chef in London, while Leo remains in Toronto to work at his father's restaurant.

Upon arriving in Toronto, Nikki meets Leo at the bar and they drunkenly play soccer during a thunderstorm.

Additionally, Leo's grandfather Carlo and Nikki's grandmother Franca have been secretly dating, only outwardly participating in the feud.

Nikki encourages Leo to serve his pizza out of Vince's restaurant, but he tells her his father is stubborn and opposed to changing the menu.

Corinne, who came to Toronto to convince Nikki to return to London, reveals she had to close her new restaurant after receiving negative critic reviews.

In July 2017, it was announced Hayden Christensen, Emma Roberts, Andrea Martin, Alyssa Milano, Danny Aiello, Adam Ferrara, Gary Basaraba, Andrew Phung, and Jane Seymour had joined the cast of the film, with Donald Petrie directing from a screenplay by Steve Galluccio and Vinay Virmani.

Pauline Dhillon and Ajay Virmani served as producers on the film, while Fred Fuchs, Tiffany Kuzon, Patrick Roy and Christina Kubacki served as executive producers, under their Firsttake Entertainment, Telefilm Canada and Gem Entertainment banners, respectively.

[6] The film was released in Canada on August 24, 2018, by Entertainment One[7] and in the United States on September 21, 2018, by Lionsgate.

[9] On Metacritic, the film has a weighted average score of 28 out of 100, based on 4 critics, indicating "generally unfavorable reviews".

"[11] Katie Walsh of the Los Angeles Times described the film as "more about cartoonish cultural stereotypes than finding love," "limp and formulaic", and featuring "wildly outdated cultural stereotypes about Italian New Yorkers, Indian folks, gay people and others.

"[12] Barry Hertz of The Globe and Mail wrote that "Emma Roberts and Hayden Christensen...deserve so much better than the wan caricatures they are stuck with" and that the film "is either a remarkable act of misguided self-parody – a work so subversive that any trace of artistic irony ends up being invisible to the naked eye – or a solid case that its filmmaker fundamentally misunderstands the modern world.