Review: Materialists

Score: A-

Director: Celine Song

Cast: Dakota Johnson, Chris Evans, Pedro Pascal, Zoë Winters

Running Time: 116 Minutes

Rated: R

Don't let the big names and flashy brands fool you. Materialists may look like a slight rom-com from the '90s on the outside. But dig a little deeper and there's a smart exploration of love, attraction, and happiness (and how capitalism influences all of these things).

This shouldn't be surprising since it's Celine Song's follow-up to her wistful and deeply moving debut Past Lives. There's a lot of "what if" here, too, alongside a realization that timing is as key an ingredient in romance as shared interests and compatibility.

Dakota Johnson gives her best performance to date as Lucy, a matchmaker to New York's moneyed elite. Though as of late she's been struggling trying to meet her clients' ridiculous demands. (Credit to Song for making the women just as impossible to please as the men.) While attending a wedding for one of her success stories, she meets Harry (Pedro Pascal), the equally wealthy and beautiful brother of the groom. She rebuffs his advances and runs into her ex John (Chris Evans), who's working as a caterer. They still have a spark, but also the memories of what caused it to go out.

Eventually, Lucy relents and dates Harry. Despite the walls she's put up, it's understandably hard to ignore a man as gorgeous as Pedro Pascal, whose apartment cost more than Lucy could ever dream of making in her entire life. There's a little bit of wish fulfillment here, with the trips to great restaurants and dream vacations. But the movie is smart enough to recognize such luxuries make for memorable dates, but may not build long-lasting relationships.

Contrast this with John, who's approaching a decade of trying to "make it as an actor." He still works odd jobs, shares an apartment with awful roommates, barely makes ends meet, and has a bit of a temper. Neither he nor Harry are perfect matches, but Song also has the nerve to make sure we know Lucy isn't perfect either. A lesser film would be content with all the swooning. But as with Past Lives, audiences will have a lot to think about in the days after they see it.

Materialists has been tabbed as the return of the rom-com, or possibly even its savior. But despite being imperfect, it aims for being something more.

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About Kip Mooney

Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.