It’s fair to say that before Ted Lasso, Brett Goldstein was a nobody. He was a jobbing actor, getting the odd role here and there, like two episodes of Drunk History and one of Doctor Who - with Jodie Whitaker as the Doctor, incidentally. And then he got the Ted Lasso call.

He was initially hired as a writer by its producer Bill Lawrence, but soon found himself in the show, playing the iconic Roy Kent.

Now he’s in the position where he can co-write a script for Jennifer Lopez, then go star opposite her as her romantic lead. Go figure.

CEO of an airline Air Cruz is Jackie Cruz (Lopez). She’s getting into a wrangle with a fellow competitor, that results in her being sued. She gets her best lawyer Peter (Bradley Whitford) literally on the case, but when he has a misfortunate eating accident, he’s quickly replaced by an unknown quantity in the office, Daniel Blanchflower (Goldstein).

He certainly makes an impression when meeting his boss Jackie – and not in a good way – but there seems to be some connection there.

Unfortunately for the pair of them, Jackie’s company has a strict no relationship policy between employees, but it doesn’t get in the way of them getting to know each other. But is it worth either of them losing their jobs over?

It’s impressive where Goldstein’s career is right now, which includes writing and appearing in Lawrence’s other show Shrinking, with Jason Segal and legend Harrison Ford.

His arms must be black and blue with the regularity he’s pinching himself, writing a script with J-Lo in mind, having her accept it and starring opposite her. But as far as the actual product is concerned, it’s decidedly average.

The main problem is the actual premise, that of working somewhere that frowns upon work relationships. If someone like Goldstein was lucky enough to fall in love with a J-Lo, it wouldn’t be an issue, you would just leave. But they drag the legal nature of it all for too long, as if it was an issue worth contemplating, getting in the way of the sporadic comedy element of the rom-com mentality.

There are a number of scenes, that just feel like nothing more than padding, such as a particular room that Lopez in her apartment, that adds very little to the film generally. And others that are just cheap knob gags, as it doesn’t have anything better, or original, up its sleeve.

Even Goldstein’s performance is a little off, with his ‘posh’ English accent that just doesn’t suit his face. He even acknowledges it in one scene paying Whitaker back with a role as his sister, when he talks normally but states he couldn’t be a lawyer in the US with that accent; he should have just rolled with it, because the one he goes with just doesn’t work.

Lopez, who is no stranger to the rom-com, has fun with her role, but is ultimately let down by the film’s narrative.

It’s always good to see Gilpin however, who can always deliver a delicious level of quirk, as she does here. And Tony Hale is great too, despite having the smallest of parts, with his best bits disappointingly reserved for the end credits.

With Goldstein up to this point only used to writing TV episodes, he struggles with the pacing and the ratio of comedy for a romantic comedy i.e. there just simply not enough of it.

A semi-breezy effort then, that’s unlikely to get tongues wagging at the office water cooler.