Materialists

Grade: B+

I wouldn’t blame you for thinking, as I did, that Materialists would be your typical lighthearted romantic comedy. We get the gist of the plot from the trailer. It looked corny and treacly. “Oh look! A professional matchmaker has a new assignment: HERSELF! Isn’t that a cute twist? There are two potential suitors. Which one will she pick? Hijinks will ensue, I’m sure.” A clue that you’re in for something deeper and richer is that the writer/director is Celine Song, whose debut – Past Lives – was no slouch, to say the least.

The matchmaker is Lucy (Dakota Johnson), who works for a dating service called Adore. She has been responsible for many eventual weddings, and is attending the ninth such event – when she catches the attention of the groom’s brother, who finagles his way to her table. He is Harry (Pedro Pascal), a wealthy financier. He expresses a romantic interest, but she suggests that he, instead, become a client of Adore. A cat-and-mouse courtship does take place, and in a better, smarter way than you might anticipate. There’s a real weight, meaning, honesty and intelligence to the dialogue regarding their prospective relationship that is far beyond your typical cookie cutter romantic comedy. Whether or not she loves him or would even grow to do so, he is established, stable, and can certainly take care of her.

Meanwhile, an ex-boyfriend of Lucy’s is working the wedding as a caterer. He is John (Chris Evans). They broke up several moons ago over money. They, too, become somewhat involved, and explore reigniting that spark. John is barely making ends meet in the city, with two roommates in his crowded apartment. It leads to some sitcommy bits like a messy bathroom, or late-night activity in the bedroom being too loud. Harry lacks the emotional connection that John has to offer, but obviously has John beat in the financial department.

The three leading actors do among their best work – especially Evans, who surprised me the most. Other critics have noted that you can tell when Johnson is interested in a project, and when she’s not. There’s something to that. Last year had her starring in Madame Web and Daddio. What a juxtaposition. Her heart is in it with Materialists. Pascal is an actor I’d never heard of for so long, then all of a sudden, he’s everywhere. Looking through his previous credits, it makes sense why he wasn’t on my radar, as he was involved with several projects I passed on, because they weren’t my thing. I enjoy him quite a bit. He reminds me of a very well-known Atlanta theatre giant – a prolific actor/director, who was a staple of the professional scene for decades. He, too, is suave and handsome, and I’m interested to hear if any local actors/directors/designers/etc can guess who I’m talking about.

The film settles into safety by the end, with a more conventional screwball romcom ending. Rather than the traditional black background, the end credits play over fly-on-the-wall footage of what looks like a wedding reception. It’s literally just extras walking around mingling. You don’t have to stay for this. Nothing happens, it doesn’t amount to anything, and I don’t know why it’s there. Definitely the most confusing but unforgettable closing credits of the year. Materialists is a memorable movie for more positive reasons, too. For two feature films now (100% of her output), Celine Song has explored the contemplation of roads not taken, particularly when it comes to exes. Makes you wonder if her husband should be concerned.

Grade: B+