Times are tough, even in the world of romantic comedies. In Umberto Carteni’s “The Love Scam,” two brothers in Naples face almost certain eviction just as Vito (Antonio Folletto) tries to secure solo custody of his son after his partner left for her home country. His brother, Antonello (Vincenzo Nemolato), a lovable but irresponsible goof, ignored bills that have now put their family’s old home in the hands of a wealthy developer. In an effort to stay in the home their grandfather built and not lose custody of Vito’s infant son Napoleon, the two men devise a scheme to woo the daughter of the developer, Marina (Laura Adriani), in order to pay off her father’s company with their own money–but only if Vito can transform into Carlo, a wealthy man-about-town looking for investors for his phony charity. 

Mistaken identity and lying to impress a potential partner is a well-tread territory in the rom-com genre. For instance, Tom Hanks tries to hide his identity from Meg Ryan in their enemies-into-lovers internet-age classic “You’ve Got Mail.” James Stewart hid his identity even though he knew Margaret Sullavan was his long-suffering pen pal in the original 1940 film version of this beloved story, “The Shop Around the Corner.” Robert Downey Jr. pretends to be someone he’s not to spend time with Marisa Tomei in Rome in Norman Jewison’s “Only You.” Even in the Disney version of “Aladdin,” our hero pretends he’s a rich suitor to get close to his love interest, Jasmine, even though the opulent act isn’t what she’s really interested in. Although this familiar trope of courting by deception might inspire horror in any real-life situation, somehow it still works because they’re still making these kinds of movies. Maybe the reveal is so innocuously satisfying that the audience knows something one of the other characters doesn’t. Then, we watch our heroes make the right choices and fall in love despite the odds–at least until the credits roll. 

Although “The Love Scam” follows these recognizable story beats, it ends up feeling deceptively charming thanks to its cast and crew. Writers Caterina Salvadori and Ciro Zecca manage to fit in a few surprises, overthrowing our expectations along the way to the anticipated ending. Director Carteni captures a nuanced view of Southern Italy, showing off its natural beauty, idyllic sunsets, and historic art and architecture, but also the struggles that some of Vito and Antonello’s neighbors endure as their home crumbles around them. Carteni leads a cast of endearing performers, all of whom work well together even when the narrative gets a little silly. 

As Vito and Carlo, Folletto juggles the duties of two different personas with a few eccentric quirks and fatherhood duties in between. He acts so effortlessly, even when his character feels self-conscious; you can see Adriani’s Marina let her guard down in real-time. Their chemistry makes this movie memorable. Her character is flustered with expectations and stress, so to watch her grow from a frightening boss to a down-to-earth character who embraces life is a thrill, allowing Adriani to show off her range. I was less enamored by the storyline that Marina’s true dream was to become a chef over a businesswoman. While that fits with the genre’s sometimes more conservative gendered expectations, the writers incorporate it by giving Vito the night cleaning shift at a restaurant he then tries to pass off as his own to entice her to cook with him, so it feels less like a lesson in returning to domesticity. Although they feature heavily in the beginning, Vito’s brother Antonello and Napoleon step aside when Carlo begins to win over Marina’s attention. Still, the odd pairing of an ill-equipped uncle and adorable baby makes for some good jokes. In addition to Marina’s initial no-nonsense personality, her suspicious boyfriend Federico (Loris De Luna) is the power-hungry foil to Folletto’s kindhearted, would-be scammer. It gives him something of an invisible enemy to fight for Marina’s love.

While “The Love Scam” isn’t breaking new rom-com ground, it sufficiently checks the expected boxes and features a formidable romantic pair with Folletto and Adriani. The scam-within-a-scam house of cards narrative is just scaffolding for the movie’s real stars. Although many recent romantic movies also use cutesy gimmicks for their backdrop, their leads lack the heat to deliver something resembling a believable yet expected happy ending. In “The Love Scam,” there are scenes where Vito longingly looks at Marina in such a way that we understand why she would give this stranger the time of day, why they bring out the best in each other, and why we want to keep watching to see what happens to them, even if we kind of already know where their story is headed. Adding just a dash more sincerity than your average streaming romantic movie goes a long way. 

On Netflix now.

There was a moment during the filming of the “Abbott Elementary” and “It’s Always Sunny in Philadelphia” crossover episode that blew Quinta Brunson’s mind. It was the first scene where the core casts of both shows were in the same room.

“The initial moment of all of us on set just rocked me to my core,” said Brunson, star and creator of “Abbott,” in a joint interview with her “Sunny” counterpart, Rob McElhenney. “You have to understand because I’m a fan — it was crazy to see all of you in the school.”

The very idea of putting these two shows together is a somewhat crazy idea that just happens to work. “Sunny” is the profane FXX series that’s set at an Irish dive bar and has been on the air for nearly 20 years. “Abbott” is ABC’s heartwarming breakout hit about the teachers at an underfunded public school, now in its fourth season. But they are both set in Philadelphia, which gave their creators the idea to do an old fashioned crossover, the likes of which used to happen on “Happy Days” and “Laverne and Shirley.”

The first part of the event is scheduled for the midseason return of “Abbott” on Jan. 8. It finds the gang of Paddy’s Pub forced to do community service at Abbott Elementary, a logical explanation for how a bunch of criminals end up around children. It will be followed later by a “Sunny” installment featuring the “Abbott” teachers that concludes the story — the 17th season of “Sunny” recently wrapped production.

Brunson and McElhenney got on a video call with the Los Angeles Times to discuss the process of bringing it all to life.

This conversation has been edited for length and clarity.

Quinta, what was your first experience with “Sunny”?

Quinta Brunson: Even though I was from Philly, I hadn’t actually watched. I came from a very Christian background where that show just could not have been on in my house. So it wasn’t until college — my freshman year in college — and I was in a dorm with my friend Lauren, who is [the person with whom] I discovered all my oddball humor things. We were big into Adult Swim, just the things we weren’t allowed to watch at home. And she was like, “Have you ever watched ‘Always Sunny?’ ” I was like, “You know what, despite being from here, no, I haven’t.” We binged, and it was hard to binge at that time. We’d torrent — sorry — the show from a website nonstop, and I think we watched seasons, at that point, maybe like one through seven. Wait, what are you on now?

Rob McElhenney: 47.

Brunson: No, I didn’t say your age. I said what is the season count.

McElhenney: 17.

Brunson: I couldn’t stop, and I thought it was insane and amazing. It made me proud. It’s how we feel about the Four Seasons. I was like, “I cannot believe this is in my city.” There’s a Four Seasons hotel in Philly that’s incredible. Sorry, just whatever. Anyway, keep going.

McElhenney: We should shill for the Four Seasons because it’s one of the greatest hotels I’ve ever been in.

How did the crossover start to come together?

Brunson: We met at the Emmys. And Rob and the whole “Always Sunny” team had just finished doing a presentation. The theme was TV shows throughout history. They went up there, which was honestly incredible to see. I think you guys made a joke about never having won an Emmy.

McElhenney: Yeah, the premise was TV shows from the past and we were like, “But we’re in the present. Why are we here?”

Brunson: Then I won an Emmy that night, which was really, really cool. And the first people I see backstage was them, and it couldn’t have been more fitting. The first person I saw was Bradley Cooper because he FaceTimed me, and that was right before we were going to film his episode, to say congratulations. Then I run into them, and so I was just having the most Philly [night]. It was so beautiful. I think the Eagles were playing at that time. It just was really gorgeous. Never met them before. Rob and Kaitlin [Olson, who is married to McElhenney and co-stars in “Sunny,”] had told me that they watched “Abbott,” which just made my heart very warm. I think we very quickly said it: “Our shows should cross over one day.”

McElhenney: We continued the conversation at the upfronts. Then it moved quickly past just an aside or a joke, and we started pitching back ideas right there.

Janine (Quinta Brunson), left, and Dee (Kaitlin Olson) in the crossover episode. (Gilles Mingasson/Disney)

“Sunny’s” Charlie Day in one of the “Abbott” classrooms. (Gilles Mingasson/Disney)

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Was it just you two initially in the pitching process?

McElhenney: It was the two of us [and we] just had a basic premise, which would allow us to make both shows and have them feel authentic because obviously they are different styles of show and two different tones. But if we told the same story through two different tones, as seen through the lens of “Abbott,” and then as seen through the lens of “Sunny,” then we could satisfy both audiences. And then because there will be, I’m sure, a lot of people who have never seen “Sunny” before, that will see “Abbott” …

Brunson: And vice versa.

McElhenney: We wanted to make sure that we were making a show that would work for both of them. Once we kind of keyed in on that, it seemed like we could make it work. Then we got the go-ahead from Disney legal, which was a very important part of the process.

And then Charlie [Day] and I went into the “Abbott” [writers’] room and spent the day there.

Brunson: What was nice was they got it and [were] just such giving creators and so willing to get into the world. It was a dream. I’d work with them any day of the week, anytime. When they left, we were like, “That was really nice. It was really fun.” It’s not the most common experience in the world.

Was it always the idea to do one episode of “Abbott” and one of “Sunny”?

McElhenney: I think that’s what we keyed in on very early. That would be the most fun because we get to play the same characters in the tone of “Abbott,” and they get to play the same characters from “Abbott” in the tone of “Sunny.” That’s what will allow us to satisfy the authenticity of each show but then also stretch and do something different.

“Abbott” is a mockumentary so how did that affect how you would play the “Sunny” characters, Rob?

McElhenney: That’s what allowed for us to still be authentic and step into the world of “Abbott” because these characters are going into a school and they’re constantly monitored by cameras, so they would put on an act. If we’re not acting the way that our “Sunny” characters would, it’s because we know we’re being filmed and we’re putting it on the show. We might not use the same language. We might not make our intentions so obvious or known. We might not be wearing our id on our sleeves. Conversely, when they came over to us, we thought it would be fun to see what their characters would be like when the bell rings and the cameras are not on them.

Brunson: Our documentary is being filmed because they’re seeking funds for their school. So you’re going to put, probably, a better version of yourself. Then there are some characters who fit the same in both worlds, like Melissa and Ava, because they’re never really putting on for the camera. I think they’ve done something so masterful, not giving anything away, just with Dee [Olson’s character]. To me, when I first read it, I was like, “This adds another layer to all of this, that if you are a fan of both shows, you are going to have the time of your life.”

Brunson: “Our documentary is being filmed because they’re seeking funds for their school. So you’re going to put, probably, a better version of yourself.” (Marcus Ubungen/Los Angeles Times)

McElhenney: “If we’re not acting the way that our ‘Sunny’ characters would, it’s because we know we’re being filmed and we’re putting it on the show.” (Marcus Ubungen/Los Angeles Times)

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The idea of “Sunny” characters being even remotely near a school is somewhat horrifying. How was that part of your initial discussion?

McElhenney: I feel like we came to that within three minutes of us sitting.

Brunson: I remember we talked about bigger Philadelphia events, right? But it also was: Why are we doing this if we’re not seeing them in the school environment? That’s what really feels fun. When you actually see them lined up in our school, it’s like, “Whoa.” Our show would need volunteers. They would have to be volunteering for the reason that they’re volunteering.

How did you think about matching the different characters?

McElhenney: I wanted to be with Janelle [James, who plays principal Ava]. I said that from the very beginning. I feel like she’s one of the funniest people on television right now. No offense to Quinta.

Brunson: I feel the same way. None taken.

McElhenney: I also feel like her character fits best with what we do on “Sunny.” I think it’s also her form of comedy is my taste as well. But I just feel like she’s so unbelievably funny, and I just wanted to be in a room with her for a few days.

McElhenney said he wanted to be paired with Janelle James, who plays Ava on “Abbott.” “I feel like she’s one of the funniest people on television right now.”

(Gilles Mingasson/Disney)

Brunson: I think the other matches came pretty organically. I didn’t set out to be in scenes with Kaitlin, but when it all panned out, I was like, “Oh my God, I get to do so many scenes with Kaitlin. I think Kaitlin’s incredible. I think she’s one of the most underrated comedic actresses. I think people should talk about her every single day,” and then getting to perform with her, I’d stand by that 10 toes down now. She’s so good. But when I found out I got to be in scenes with her as Dee — I was over the moon. Once again, this is where the “Sunny” stuff comes in handy — remembering that [both characters] went to [the University of Pennsylvania] — it was stuff like that that goes, “Oh my God, this is just naturally turning into something very, very, very good.” I think the other key pairing was Charlie and Barbara, which is probably one of my favorite pairings in the world. That becomes this beating heart, which is sweet because our show does have heart.

And the fact that it still got to have it in this episode in a way that I didn’t even predict. Those scenes moved me. They did.

Did you always know that “Abbott” would air its crossover first?

McElhenney: I think just by nature of the schedule. In some ways, you look at the “Abbott” episode, and it stands on its own, and it’s so great, and it’s a fully realized story. But then when you see our episode, it feels like it’s almost like a giant setup, and then this is the punchline. But then you can watch them in either order, and they both make sense.

Dennis, played by Glenn Howerton, is elusive in the “Abbott” episode. Not to spoil anything, but will things you tease in “Abbott” come to fruition in “Sunny”?

Brunson: Dennis is the key.

McElhenney: Yes. So when you see the “Sunny” episode, you’ll realize why we did that with Dennis.

Was there anything that you were like, “We should save this for the ‘Sunny’ episode. Like ABC standards and practices isn’t going to like this, but FX will be fine with it?”

McElhenney: There’s a joke in your episode that I cannot believe is going to make the final cut. Did I see the final cut?

Brunson: You did.

McElhenney: I cannot believe that that joke was made on your show.

Brunson: I wonder which one.

At one point in Baby John, a little girl named Khushi (Zara Zyanna) hides under a bed, screaming with fear. Outside, bad guys are pulverizing her caretakers. She can hear the mayhem and anticipate that bad things are coming her way. 

The scene made me wonder why her father, the titular Baby John (Varun Dhawan), hadn’t trained her the way that Honey instructs her young daughter Nadia in Citadel: Honey Bunny, also starring Dhawan as Nadia’s father. Nadia is such a pro at dealing with murderous attacks that when one takes place, Honey just tucks her into a trunk, puts headphones on her ears and tells her to listen to the song and not come out. 

Incidentally, both Nadia and Khushi belong to a club particular within Indian cinema — that of overtly precocious kids who speak like adults. (I think of the cancer-stricken Sexy from Cheeni Kum as the president of this club.) While it’s meant to be endearing and cute, it often comes off as annoying and manipulative.

All of this is to say that Baby John is the sort of film that pummels you with star power (including a Salman Khan cameo), extravagant visuals, ear-bleeding sound, fantastically gaudy songs and a story that twists and turns with flashbacks, double identities and assorted villains, but despite all that flash fails to hold you. At 161 minutes, it gives you plenty of headspace to wander down rabbit holes and make random associations — like that between Khushi and Nadia.  

This was not the case with the source material. Atlee’s 2016 blockbuster Theri was named after the Tamil word for “sparkle,” and it had plenty of it. The director’s signature combination of action, emotion and social commentary worked seamlessly. Leading man Vijay, playing DCP A. Vijay Kumar and his nonviolent alter ego Joseph Kuruvilla, was very much the slick superhero who walks in and out of frame in slow motion, but he could also cry and be tender. In Baby John, Atlee (who serves as producer along with his wife, Priya Atlee) infuses his narrative with steroids. The Hindi remake is bigger and louder, but not necessarily better.

During the promotional campaign for Baby John, we were told to remember that it would be a “Christ-Mass release” — meaning that this would be a mass commercial entertainer, or what director Prashanth Neel refers to as “anti-gravity cinema,” in which coherence, logic and the rules of physics do not apply. What is necessary is delivering what Atlee calls a “stadium moment,” that sense of collective euphoria in a theater. This is a difficult and delicate art of which Atlee is an expert; just recall Captain Vikram Rathore’s entry in Jawan.

Writer-director Kalees isn’t able to deliver these cinematic highs with the same panache, mostly because he strains too hard to create them. Each beat is underlined by music or dialogue, and exaggeration is the default mode. So Dhawan, who has delivered in features as diverse as Dishoom and October, gets multiple moments with the full hero treatment: slow motion, low angles, shades that are removed or thrown on to emphasize swag, action sequences in which he flies and kills without breaking a sweat. But in all of this, the filmmakers forget to make Satya/John distinctive or memorable.

The movie treats the cop avatar with reverence and valorizes police brutality. Satya goes on a murdering spree, torturing and castrating and burning a man alive, but his actions are presented as justified because the men he murders do terrible things — mostly to women, who serve as disposable fodder for violence. Female characters are shot, punched, raped, burnt, trafficked. At various points, young girls are smuggled in containers and even in animal carcasses. All of which only makes the hero look more heroic. In one scene, he is referred to as desh ki ladkiyon ka rakhwala, or protector of Indian women.

Kalees also insists on making the villain larger than life. In Theri, Mahendran gave an effective performance as a corrupt minister who destroys Vijay’s life. He was evil without any additional flourishes. Here, Jackie Shroff has a ball playing Babbar Sher, whose signature move is lounging in a traditional Kerala easy chair which he likes so much that he even carries it to a shipping dock for the climactic showdown. But although Shroff brings a compelling menace, I lost track beyond a certain point of Babbar’s many nefarious activities, and how often and why he is in jail. 

(As an aside, can filmmakers find other locations for action? This year, we’ve seen shipping docks as backdrop now in Devara: Part 1, Pushpa 2: The Rule, Singham Again and Yudhra.)

More than anything, Baby John is a showcase for Dhawan, who gets to be the quintessential masala hero. He gets to romance, to be a doting father and a loving son, to do some seriously aerobic dancing and, of course, to fight. At one point, he does a somersault on top of a horse. Appearing in nearly in every frame, he goes at it with a ferocious sincerity. Dhawan’s father, David Dhawan, was a master of masala entertainers, and there is some pleasure in watching the son act his mass-loving heart out. But little sticks because the knotty plot switches from romance to action to abducted girls to flashback so abruptly that it gives you whiplash and glazed eyes.  

The two leading ladies — Keerthy Suresh, who makes her Hindi debut, and Wamiqa Gabbi, who makes her mass film debut — don’t get enough to do. Both are fine actors but to see their talent, you’ll have to look elsewhere. I recommend the Telugu picture Mahanati for Suresh and the series Jubilee for Gabbi. 

Baby John is relentless and joyless. Christmas needed better mass.