As a gamer, I’ve learned to be wary when A24 promises something, especially in the horror genre. They often create trailers that seem traditional but hide an edgy twist. It looks like rom-com enthusiasts are about to experience the same bait-and-switch with “Materialists“. Contrary to what the promotions suggest, this film isn’t a sweet throwback to ’90s romantic comedies; instead, Celine Song has crafted something more prickly using the rom-com aesthetic. The movie is surprisingly unromantic, and while there are laughs, they come with an uncomfortable, darker undertone that you might not anticipate.
In simpler terms, “Materialists” can be described as a blend of romance and comedy, but its core is social critique on the commercialization of dating, where individuals are treated like commodities based on statistics. The protagonist, Lucy (played by Dakota Johnson), who is a high-end matchmaker and voluntary celibate, doesn’t believe in love and views her profession as an economic transaction. Previously, she had a boyfriend, John (Chris Evans), but ended the relationship because he was financially struggling. The film has a classic rom-com moment where Lucy meets John again, now working part-time as a waiter and still struggling in his acting career, at the same wedding where she catches the eye of Harry (Pedro Pascal), a sophisticated venture capitalist who, according to her matchmaking standards, appears too ideal to date her.
Great actors offer a harsh look at dating
Lucy consistently focuses on the same factors like height, weight, age, income, politics, preferences, attractiveness, and overall worth when matchmaking. On a wedding day that Lucy had arranged, the bride expressed doubts, and Lucy urged her not to focus on love but rather evaluate the “worth” of the marriage, even if it’s only to make her sister envious. This cold, economic outlook is disheartening, and it is called into question by both Harry’s appeals to Lucy’s non-material qualities and her ongoing thoughts about John – a very attractive man who scores high on most of her criteria but whose financial status and living situation might be considered a deal-breaker. The movie’s funniest parts satirize Lucy’s meetings with various clients, some of whom are quite shallow, and these encounters become increasingly absurd as Lucy starts to question the purpose of her own life.
As a gamer who’s dabbled in acting, I can say I’ve been underestimated by those who only know me from my roles in “Fifty Shades of Grey” and “Madame Web”. But let me tell you, the performance I gave in “Materialists” showed that I shine when cast in the right role. The same aloofness that makes people laugh about spiders in the Amazon is brilliantly used to portray a character intended to be shallow and uncomfortable. When Lucy grapples with overwhelming regret for her poor decisions, that’s where I showcase my ability to depict depression authentically, as seen in films like “Cha Cha Real Smooth” and “The Lost Daughter.
In another engaging portrayal, Pedro Pascal, free from conventional audience reservations, delivers another captivating performance as the seemingly flawless “unicorn” boyfriend character in the movie. The film takes its time to unveil any significant flaws or vulnerabilities of Harry’s character, and when it does reveal these traits, Celine Song’s script skillfully sets up the moment with sensitivity and grace. Chris Evans, on the other hand, showcases his talent for more grounded performances instead of larger-than-life roles like “Red One,” and as John, he brings a strong likability to the character, even though the role doesn’t quite evolve beyond stereotypical archetype.
Materialists is no Past Lives
In “Materialists,” there are several unusual aspects worth mentioning. For instance, the opening scene, which presents an unexpected encounter between two cave dwellers from long ago, seems reminiscent of “2001: A Space Odyssey.” Additionally, the movie displays a self-referential nature; John’s significant performance occurs in a production of one of Celine Song’s own plays, titled “Tom and Eliza,” and a billboard advertisement for another film produced by A24, “Eighth Grade,” serves as a clue to determine the timeframe of a flashback scene. However, less favorably, Dasha Nekrasova appears as one of Lucy’s colleagues at the Adore matchmaking company, which may be recognizable to some viewers (I hope you didn’t recognize that name and for your sake, I truly hope you are not familiar with it either).
In addition, there are certain plot elements that leave me uncertain about their interpretation. The most controversial aspect of the movie, which depicts one of Lucy’s relationships going terribly awry, will likely stir debate. Although this subplot is crucial for the film’s overarching message and undeniably powerful – a scene where Lucy grapples with her tragic mistake in the foreground while her coworkers celebrate another match outside the window may be the movie’s most impactful visual composition – I find it hard to believe that someone like Lucy, given her circumstances, had never contemplated such an event occurring before.
In a stark contrast, when “Materialists” eventually aims for a romantic-comedy climax, the movie risks collapsing under the weight of unconvincing romance. Although I can understand why Song might deem this conclusion suitable on paper, in my perspective, Lucy’s sudden shift towards love in the end felt forced and lacked authenticity. The chemistry between the two leads, particularly during a crucial scene leading up to this romantic turn, seems to have been filmed separately, which doesn’t help matters. There was a brief moment where I thought the movie might opt for an alternative route to a happy ending – whether such an alternate resolution would be satisfying or not is debatable, but it did cross my mind. “Materialists” may not reach the heights of passion and beauty found in Song’s initial romantic film “Past Lives,” but it shines brightest when it strays from the conventional narrative.
“Materialists” opens in theaters on June 13.
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2025-06-11 18:30