Materialists - Review: Living in a Materialistic World

 

Celine Song’s directorial debut “Past Lives” set the world on fire during the 2023 Oscars season thanks to its exploration of modern relationships, romances, and intimacy set against a backdrop of longing and long-distance friendships. Her follow-up explores many of the same things, with a New York City setting, a cast of attractive big-name actors, a clear inspirational throwback to the romance films of the early 2000s, and the concept of “matchmaking” squarely in her sights. 

Lucy, played by Dakota Johnson (“Fifty Shades of Grey,” “Cha Cha Real Smooth”), is a matchmaker at the Adore agency living in New York City paycheck to paycheck. At the wedding of one of her clients, she meets Harry Castillo, played by Pedro Pascal (“The Mandalorian,” “Gladiator II”), the wealthy brother of her client’s new husband, and she reconnects with John, played by Chris Evans (“Knives Out,” “Captain America: The Winter Soldier”), her broke, cater-waiter, failed actor, ex-boyfriend. As she connects and re-connects with each of them, she’s forced to re-examine what her definitions of love and connection actually mean, all while dealing with a devastating complication with one of her clients Sophie, played by Zoë Winters (“Succession,” “Jules”). 

Johnson, Pascal, and Evans all make for an exceptionally charming and entertaining romantic trio. Johnson in particular makes great use of her subtler skills and makes Lucy a complex lead to root for. You truly have no idea which way she’ll go throughout the film, and there’s an evolution of her character and beliefs that results in a satisfying and emotionally complex arc for her. Pascal and Evans are a bit more one note, given that they aren’t the central roles in the film, but they clearly are having a ton of fun playing right into the romance cliches of their characters. Winters also does a great job with her minor role, excelling especially when she’s placed alongside Johnson. The use of the character herself is more up in the air, but Winters’ skill is never in question. 

Song’s script moves playfully back and forth between embracing the cliches of this genre while still spending ample time playing within it. She has a lot to say about the expectations and restraints of modern dating, and Johnson’s character serves as a mouthpiece for this. It never feels preachy or over-blown, but the film does get into plenty of “having its cake and eating it too” territory towards the end. Regardless, the individual dialogue itself is snappy and fun, with Pascal, Evans, and Johnson all delivering it with charm and energy. It’s also simply a gorgeous film, one that makes excellent use of New York City and its various locales, indoors and out. Cinematographer Shabier Kirchner (“Small Axe,” “Past Lives”) shoots it all with the skill of a grounded drama without dampening any of the glitz and flair. The musical score from Daniel Pemberton (“Spider-Man: Into the Spider-Verse,” “The Trial of the Chicago 7”) is also a frothy highlight; like the script, it seeks to emulate the iconic scores of other early 2000s romance films while also playing quite a bit within the expected sound.

Things are all well and good until Sophie’s subplot is introduced. While Song’s intentions are clearly good and the subplot is written with care, it juxtaposes the rest of the film so drastically that it creates a severe case of tonal whiplash. It has nothing to do with Johnson or Winters’ performances, but merely the fact that the tone and seriousness of the development clashes with the rest of the film. By the end, things wrap up nicely, but it can at times feel like a delicious cupcake with a carrot in the middle: great on their own, together less so until you get used to them.

“Materialists” is a sugary sweet follow-up for Celine Song that demonstrates her continued strength withdissectingg modern day romantic relationships. Her cast are all great together, and the film is exceptionally gorgeous with equally great music. As a total package, it has some disparate elements and doesn’t quite reach as highly as her previous effort. But for those looking for a romance that feels like it was plucked out of a bygone era, it's an easy recommendation. 4/5