‘Materialists’ Review: Celine Song’s Follow-Up to ‘Past Lives’ Is a Rom-Com Played Straight, With Dakota Johnson as a Matchmaker Tangled Up in Love and Money

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In the past, there wasn’t anyone who loved “Sex and the City” more than me. Despite thinking it’s an incredibly fantastic series, a small part of me – my critical movie reviewer side – has often pondered in the corners of my mind about what “Sex and the City” might have been like if it had been presented at times as less of an outrageous comedy-drama and more grounded in reality.

Material Girls,” a captivating New York tale about love, wealth, and romance, is the film that has finally provided an answer for me. This is Celine Song’s second movie, following her dreamy masterpiece “Past Lives,” and Dakota Johnson plays the role of a sharp-witted, self-assured professional matchmaker. Chris Evans portrays a struggling theater actor with no financial resources, while Pedro Pascal takes on the role of a charismatic private equity broker living in a $12 million apartment. Essentially, you can infer the rest from these details.

The movie ‘Materialists’ might seem like a lighthearted rom-com, especially given its distributor A24’s marketing approach. However, it’s actually a thought-provoking blend of romance and social drama that offers insightful commentary on modern living and how it relates (or doesn’t) to our past ways. There’s a somber undertone to this film as well. It could be described as ‘Sex and the City’ with a dose of harsh reality.

The movie takes place within an exclusive, authentic New York social circle where individuals are seeking partners with exceptional qualities such as physical attractiveness, charisma, refined taste, towering height, and substantial income above mid-range six figures. However, instead of being confined to a snobbish one-percent enclave filled with arrogance, this setting empowers the film by allowing it to delve into the intricate relationship between wealth and love, or more specifically, how these two elements have intertwined in their dance.

Lucy Johnson serves as a dating advisor for Adore, a firm that guarantees to every client: “You’ll find your soulmate.” The service endeavors to keep this pledge by acknowledging the pickiness of clients and catering to their high standards. Following a date, Lucy will contact both individuals privately to inquire about their experience and boost their self-esteem (“He met many of our criteria. And you matched several of his”), while also evaluating whether a second encounter is feasible. It’s a blend of scientific matchmaking and comforting counseling.

Adore isn’t a dating app, yet its service mirrors the transformation in perception that online dating has instigated, essentially transforming the concept of “romance” into an endless marketplace. It changed the quest for love into a shopping experience. One could argue this was its nature all along, but those of us who experienced dating before the Internet can attest: It wasn’t like this (not in the way it is now).

Despite the fact that Lucy’s clients, both men and women, have lofty expectations (they are portrayed humorously in quick succession), striving to combine perfect qualities into one person, the movie also reflects on the past – it draws inspiration from the values espoused by Jane Austen (whose works were instrumental in shaping the “Masterpiece Theatre” genre that was popular before the advent of the Internet) and Edith Wharton, a masterful storyteller who delved deeply into the complexities of love, money, and women’s desires, making her America’s most acclaimed novelist.

As a film enthusiast, I found Celine Song’s dialogue to be a delightful blend of sharp wit and effortless flow – if only we could capture that talent, Hollywood would certainly benefit! Dakota Johnson delivers an exceptional performance in this film that surpasses anything I’ve seen from her before. Gone is the sweet-voiced Dakota Johnson we’re accustomed to, replaced instead by a brilliant sharpness that seems almost palpable.

Lucy appears to have a keen understanding of her clients, skillfully delivering lines like, “You’re not ugly, you just don’t have money.” However, the film’s mystery lies in uncovering what Lucy truly believes and desires deep down.

She appears to be a materialistic social climber in some aspects, yet her annual income is only $80,000. She maintains a close friendship with her actor ex-partner, John (Evans), who works part-time as a caterer and resides with two seemingly unsuccessful roommates. This scenario presents an amusing element, but the film avoids taking cheap shots or relying on easy laughter. John’s lack of success is indeed genuine, and it significantly impacted his relationship with Lucy. A flashback to their fifth anniversary reveals a poorly planned date marked by frugality. The underlying message is bothersome yet potent: Money plays a significant role in romance.

In this film, Chris Evans seems more alert and passionate than his previous performances, making his tender moments all the more captivating. Pedro Pascal, on the other hand, perfectly portrays a character reminiscent of Chris Noth’s Mr. Big. Pascal, with a charm that harkens back to Burt Reynolds in his mustached heyday, charms effortlessly as the finance executive who manages to seem both kind and entitled. The team behind Lucy and Adore refers to him as a “unicorn” – a seemingly perfect man that every woman longs for.

Materialists” – A Story of Love Amidst Infinite Options and Obsessive Control

In an era characterized by unlimited choices and compulsive manipulation, individuals believe they can mold and tailor their lives according to their desires. The film subtly incorporates the topic of cosmetic surgery into its dialogue and narrative, with a particularly extreme procedure serving as a stark reminder for the audience, costing several hundred thousand dollars. Beneath this surface, the movie hints at the notion that in today’s era of escalating ambition, where wealth is increasingly concentrated among the elite, love has transformed into a competition to ascend the social ladder. The film suggests that celebrations such as the extravagant party thrown in the Adore offices for Lucy’s ninth successful match leading to marriage, are more akin to corporate mergers than romantic milestones. The sentiment pervading this new age of aspiration is one of all or nothing, which the film implies, has become corrupted.

In a typical romantic comedy, Lucy’s predicament would be resolved in an exciting, slightly outrageous manner, making it a delightful experience. However, “Materialists,” despite its intense and realistic portrayal, encounters a conundrum as it lacks the thrill of discovery and has to manipulate the financial aspects somewhat (when we find out one character has been excessively frugal). The film doesn’t offer the same level of excitement, which might affect its commercial success. “Sex and the City” managed to maintain a lively and engaging tone. “Materialists,” on occasion, feels like a more serious, introspective version of “Sex and the City,” though this comparison should be taken as a compliment, despite the film’s potential box office performance not living up to expectations.

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2025-06-09 16:17