And it has the 1D seal of approval too.

[Video][Website]
[6.33]

Will Adams: Little Mix come off here like a PG-rated Stooshe; the opening line “He might got the biggest caaa-aaa-[at this point I wonder if they’ll actually go there]-aaar[oh, never mind then]” is as coarse as it gets. The rest is pleasantly evocative — essence of melodies from “Dancing Queen” and “Last Christmas” puffed in; arrangement mirroring whatever your favorite 60s girl group is — but not very memorable on its own.
[6]

Patrick St. Michel: It follows the same blueprint as “All About That Bass” except it avoids any potentially divisive statements in favor of just saying “that nasty” in a Ronettes voice. That just leaves a so-so throwback sound with a gag they thankfully don’t drive into the ground.
[5]

Thomas Inskeep: The ’60s girl group comparisons are obvious, but I wish they’d gone all the way with the production, full-on Phil Spector. Instead it kind of treads a line of necessary safety, and suffers for it: this is just good, where it could’ve been glorious.
[6]

Alfred Soto: “Love me like you” what? They forgot the verb. If you’re going to write a girl group pastiche, own it.
[5]

Andy Hutchins: My “problem” with Little Mix is essentially the same as my “problem” with Fifth Harmony: The singles I really like (“Move,” “How Ya Doin’,” and now “Love Me Like You”; “Bo$$” and “Sledgehammer”) don’t find the foothold at American radio that the lesser ones (Disney-soundtrack-ass “Black Magic”; the plodding, Peak Kelly Clarkson reject “Miss Movin’ On” and Kid Ink-polluted “Worth It”) do, and so I don’t think of the greater achievements immediately. (Naturally, I blame Simon Cowell.) “Love Me Like You” is one of them, a nu-wop end run around Meghan Trainor that feints at the (wonderful) melody from the hook of “Last Christmas” and makes use of the Brits’ brilliant harmonies and pretty upper registers for a bittersweet lament. It’s a little slow for American top 40 — probably part of why it’s not even out as a single in the U.S. — but this is approximately 10,000 times better than “Marvin Gaye,” and that is literally within the top 40 at the moment, so: C’mon, Simon.
[7]

Katherine St Asaph: Like “About You Now,” it’s an infectiously peppy song that conceals resigned heartbreak. Unlike Fifth Harmony, Little Mix make it about the candy-cane sweetness, not about themselves. Unlike almost everything, the big obvious double entendre leading “Love Me Like You” isn’t really so obvious after all. Unlike the artists actually from Disney, Little Mix do sugar-shock bubblegum pop better than anyone out of that stable (the consensus on YouTube is this sounds like ABBA, which is startlingly accurate) — and bless them for it.
[9]

Brad Shoup: Finally, a Meghan Trainor song I dislike.
[3]

Edward Okulicz: “60s girl-group pastiche” be buggered, the people who made this might well never have been conscious before Girls Aloud’s “The Promise.” But that’s quite okay, because celebratory declarations of love that hide sheer and unbearable despair are basically the best. The soundtrack to your next five hallucinations that your unattainable crush noticed you, and all the better for it.
[9]

Scott Mildenhall: As a wise philosopher once said, “a bad cover version of love is not the real thing.” It really would be great, then, if this song’s resemblance to the one those words come from was intended. Either way, the Brill Building angle is a trump card, and certainly validates the second consecutive video in which Little Mix pretend to be American. It’s more on the dreamlike side than when Stooshe played it, and less of a pastiche, but there’s always going to be an archness running through it, so it’s all about striking an effective balance. By the time the mellifluous melodies of the chorus overlap with the “L-O-V-E” part, they more than have one: part camp, part heartwarming — it’s completely Christmas.
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