Materialists

One half exciting rom-com subversion; one half typical rom-com

Romantic comedies are not my thing, which is why I mostly enjoyed Materialists, a movie that spends a good chunk of its runtime deconstructing the tropes of American rom-coms.

I say “mostly” because director Celine Song’s sophomore feature falters in its second half and resorts to some of the very clichés it spent the first half critiquing. But I’m getting ahead of myself.

Materialists follows Lucy (Dakota Johnson) a matchmaker in New York City who navigates both her job and her own relationships. Meeting the brother (Pedro Pascal) of a previous client, she begins a new relationship while also reconnecting with her ex-boyfriend (Chris Evans).

That sounds like a typical rom-com setup, doesn’t it? But what makes much of the film feel fresh is its deadpan tone and flair for satire. The script carries a unique comedic rhythm, and all three performers understand the joke. This movie is especially fitted for Johnson, whose performance (again, especially in that first half), is laugh-out-loud funny because of her ability to play everything completely straight. The film critiques 21st century dating life and the transactional ways we often evaluate romantic partners based on *ahem* material qualities.

Unfortunately, the film loses that sharpness in the second half. Much like my critique of Sinners, the clever commentary in Materialists becomes more heavy-handed. Subtext is turned into text, and that satirical tone begins to fade. The film also tries to address some weightier emotional material, especially through Zoë Winters’ character Sophie. While the themes of abuse and trauma are important issues to tackle, the execution in this particular film felt undercooked and at odds with the rest of its tone. The ending, while somewhat touching, lands with less impact because it embraces some of the very tropes the film earlier seemed intent on denouncing.

Still, Materialists looks incredible, evoking the likes of Woody Allan and James L. Brooks on several occasions. Song is certainly a filmmaker to continue watching, even if her latest effort doesn’t quite compare to Past Lives. And while this film doesn’t fully deliver on its promise, it is often smart, funny, and insightful.

Rating: 3.5/5