Urgent Review: Stream or Download “Materialists” Now

The timeless dilemma of marrying for love versus wealth is the central theme in Celine Song’s heartfelt romantic dramedy, “Materialists.”

This question may appear outdated and even sexist, especially in a world that tells women they can achieve everything instantly. (In reality, the truth is more complicated: we can attain certain things at certain times, but not all at once. But that’s a topic for another discussion.)

This film serves as a follow-up to Song’s critically acclaimed 2023 drama “Past Lives,” drawing inspiration from classics like Jane Austen, screwball comedies, and the rom-coms popular in the early 2000s. Picture Kate Hudson as a busy woman navigating the urban landscape in a lighthearted remake of this story.

However, “Materialists” establishes its own narrative identity: it’s more incisive and contemporary, offering an unflinching portrayal of dating culture in modern Manhattan. If you came expecting glamorous escapism due to its star-studded cast and a soundtrack featuring Madonna’s “Material Girl,” prepare for something more nuanced—it’s a bit melancholic yet significantly deeper, which is part of its charm.

Song navigates a delicate tonal balance amidst the economic disparities within the love triangle she creates. While the characters inhabit a world of beauty and wealth, the motivations behind their decisions can reflect harsh realities.

Lucy, played by Dakota Johnson, recognizes this contrast, yet promotes the fantasy of true love as a matchmaker for Manhattan’s elite. “Materialists” opens with the familiar setup of a romantic comedy, including a humorous montage of bad first dates—only this time, they are Lucy’s interviews with potential clients, each possessing outlandish requirements for a partner.

Lucy excels in her matchmaking skills, which becomes clear when she attends the ninth wedding stemming from one of her setups. An impactful moment features Louisa Jacobson, known from “The Gilded Age,” in a brief but memorable role as the bride. Johnson embodies the character flawlessly, radiating an effortless glamour reminiscent of a fashion influencer casually showcasing her style: “Oh this? I just threw it on.” (Kudos to costume designer Katina Danabassis for her elegant wardrobe choices.) Excelling at nonchalance, Lucy stands out in a world where others seem overly eager to impress.

This cool demeanor is tested when she encounters the charismatic Harry at a wedding. Portrayed by the charming Pedro Pascal, Harry is wealthy and an ideal match for the women seeking Lucy’s services. She perceives him as a “unicorn,” possessing the perfect mix of charm, height, and fortune. But Harry, captivated by Lucy, wants to date her instead, even after she frankly admits her intentions to aim for financial security in marriage.

Things take a turn when Lucy’s former boyfriend, John, appears at the reception. He’s a struggling caterer played by the compelling Chris Evans. The chemistry between them is palpable, reigniting a spark more intense than the playful banter she had with Harry throughout the evening.

Thus, Lucy’s predicament intensifies as she navigates interactions with these two contrasting men: should she marry for affection or ambition? Credit goes to Song for creating two compelling choices, both of whom are attractive and respectful of Lucy. For an extended period, it’s entirely plausible for her to end up with either one.

This is where Song’s writing shines. One of her two Academy Award nominations for “Past Lives” was for her original screenplay, showcasing her knack for crafting relatable, intricate characters who are flawed yet vulnerable. They express poignant thoughts in a manner that’s both straightforward and poetic. Her dialogue resonates with the essence of renowned screenwriters like Billy Wilder and Nora Ephron, as her characters delve straight into the core of their issues, often leaving you both moved and reflective.

Evans delivers a standout performance in this role, allowing him to step beyond the familiar mold of Captain America. His dynamic with Johnson is playful and relaxed, infused with a touch of sorrow that adds depth to his struggling-actor character, enriching the overall narrative beyond typical genre expectations.

A road trip later in the film provides Lucy and John with a chance to confront their feelings of lost opportunities. Cinematographer Shabier Kirchner beautifully captures the evocative atmosphere with soft lighting that enhances the story’s emotional weight. Meanwhile, Daniel Pemberton’s score injects a sense of glamour and lively energy, transitioning into tension and deeper emotion as the plot unfolds.

A subplot featuring one of Lucy’s notable clients (played by Zoë Winters from “Succession”) feels like a narrative detour at first but eventually adds depth, resonating with Johnson’s character. Winters delivers a raw performance that works effectively, illuminating a tenderness within Lucy.

“Materialists” concludes with an artfully crafted ending—echoing Seth Rogen’s words from “The Studio,” who doesn’t enjoy a well-rounded conclusion? The clever framing, details, and color schemes may inspire you to revisit the film from the start, leaving a clear-eyed perspective on the prospect of a happy ending.