Exploring "Materialists": A Sophomore Effort That Misses the Mark
By Peter Keough
Director Celine Song’s latest film, Materialists, attempts to breathe fresh air into the romantic comedy genre, but ultimately struggles to find its footing. The film, currently showing at the Coolidge Corner Theatre and in various suburbs, features a poignant story that at times feels weighed down by unnecessary exposition and confusion.
A Journey Through Time and Space
Much like Stanley Kubrick’s iconic 2001: A Space Odyssey, Materialists kicks off in a prehistoric context. Here, we witness a hunter-gatherer presenting flowers and stone tools to his beloved, metaphorically marking the dawn of marriage. However, this poetic scene soon devolves into a heavy-handed narrative that fails to remember that subtlety can be more impactful than elaboration.
Meet Lucy: The Matchmaking Maven
Fast forward to present-day Manhattan, where we meet Lucy, portrayed by Dakota Johnson. Within her perfectly manicured boudoir, she gazes into the mirror, applying her makeup with the same care she invests in her matchmaking career. But let’s be clear: Lucy is no ordinary matchmaker. As an employee of Adore, she hosts a parade of romantic encounters reminiscent of Julia Roberts’ role in Pretty Woman, albeit with a twist—her elegance serves more as a façade than a reflection of depth.
A Portrait of Duality
Lucy’s confidence is palpable. She claims, “It doesn’t matter if you believe it, because I believe it.” Yet, this confidence is juxtaposed with tales of men undergoing surgeries to correct their height—a commentary on societal pressures that may hint at Lucy’s own internal conflicts. Is she naïve, or is she cynically aware of the world around her? Unfortunately, that coherence is lost, as characters bounce between extremes without solid psychological grounding.
The High Stakes of Romance
As Lucy revels in her success — having engineered nine prosperous marriages — she finds herself at a wedding where everything seems perfect, except for the bride’s existential doubts. This moment serves not just as a reflection of the characters’ aspirations but also challenges the audience to contemplate: Is being a ‘perfect’ woman truly the goal?
At the reception, Lucy encounters Harry, played by Pedro Pascal. Here is a man who admires her skill yet senses that there’s more brewing beneath her polished exterior. Their dynamic hints at a deeper romantic subplot, promising complexities that are ultimately explored with less finesse than imagined.
Ghosts from the Past
Amid the festivities, Lucy’s past resurfaces in the form of John (a rugged Chris Evans), her former flame. Their shared dreams of acting in New York inevitably crumble under the weight of financial strain—leaving the question: can love from the past reignite in a future fraught with insecurities?
A Stagnant Take on a Classic Genre
Materialists wears its romantic comedy roots like a badge of honor, echoing classic works by Shakespeare and Jane Austen, but Song’s attempt to modernize it falls flat. The dialogue often resembles a PowerPoint presentation of half-formed ideas rather than the insightful exchanges one might expect from such a storied genre.
Cinematic Misses
What compounds the film’s struggles is the lackluster cinematography that seems more stage-bound than cinematic. The camera flits between uninspired Manhattan backdrops, losing attention as it drifts away from the leads—inviting viewers to ponder the more interesting stories happening in the corners of the frame.
Conclusion: A Missed Opportunity
In conclusion, Materialists strives to explore the intricate world of love and relationships but often succumbs to superficiality, making it feel like a checklist of romantic clichés rather than a fresh narrative. Celine Song’s sophomore effort leaves audiences yearning for the emotional authenticity that elevates true romantic comedies.
For those interested in diving deeper into this cinematic exploration, check out additional insights at Fandango.
Peter Keough is an esteemed film critic and has contributed to numerous publications. Previously, he served as the film editor of the Boston Phoenix from 1989 until its eventual closure in 2013 and is also the author of For Kids of All Ages: The National Society of Film Critics on Children’s Movies (Rowman & Littlefield, 2019).
