Love is an equation. Marriage is a business transaction. Oscar-nominated filmmaker Celine Song’s sophomore feature, “Materialists,” explores modern dating culture’s most pressing questions in nostalgic rom-com fashion. In a capitalistic, increasingly digital social environment, what makes a romantic partner valuable? 

Song’s silver screen debut, “Past Lives,” was an immediate standout of 2023, eventually scoring two Oscar nominations and squeezing into a competitive Best Picture lineup. Also distributed via indie powerhouse A24, the film established Song’s writing wizardry — a yearning, delicate exploration of love and destiny set in America’s urban heart.

“Materialists” is a fluid progression for Song — another earnest expression of romantic tension captured with grace and warmth, nestled in the bustling Big Apple. But like the many candidates we browse through on online dating platforms, “Materialists” doesn’t quite check all of a desperate single’s boxes. It’s not as tight or transcendent as “Past Lives,” bogged down by a hit-or-miss lead performance and unsubtle messaging. Still, Song’s layered dissection of modern love is a crowd-pleasing, winning equation, delivering a deeply emotional, thoughtfully written glimpse into the most broadly relatable human conditions. 

“Materialists” presents an easily intriguing premise, following a young, confident New York City matchmaker realizing a complex love conundrum of her own. After scoring her ninth marriage with Adore Matchmaking, dating guru, Lucy (Dakota Johnson) runs into Harry (Pedro Pascal), a handsome, mega-rich, practically perfect romantic pursuit. Moments later, her broke, aimless ex-boyfriend John (Chris Evans) reappears, tossing Lucy down a complicated internal quarrel with self-worth, materialism and superficial value. 

Song’s script is simple, tender and moving, with an effortless ability to wring the heart. In the digital age, dating is an equation littered with dangers, uncertainties and a shocking lack of humanity. The green flags we seek out via dating apps and matchmaking services distract us from the mysterious and indecipherable reasons behind true love. Here, Song contends this is a chosen reality, and can be avoided based on our choices and ideals. The arbitrary worth we place on people cannot stem from material value or on-paper perfection. If that inexplicable bond is absent, lasting love is impossible. 

This thesis is immediately apparent and beaten to a pulp through the “equation” and “transaction” descriptions. While Song’s thoughtful, contemplative words leave plenty to chew on between the lines, her overarching lack of subtlety and unpredictability can grow repetitive. 

Johnson is a divisive actress, often criticized for her distant “too-cool-for-school” persona. Her delivery here is as stiff, rigid and unnatural as ever, as if Song’s script is holding her hand and cheering her on with each line. There are moments, particularly those removed from her dynamic with Evans, where her performance became distracting. Still, her emotionally detached and aloof ways work in “Materialists” much better than in other films, primarily because of Lucy’s character. A hot-shot matchmaker who tinkers with people’s lives and views individual qualities as a checklist is, after all, understandably cold and removed from genuine human emotion.

Pascal is serviceable, solidly inhabiting the suave and magnetic Harry. His character is more than meets the eye, unearthing interesting questions surrounding male loneliness and unrealistic body standards. Harry is a man who has come so far, achieved every dream, every material reward in the book, and still feels empty and hopeless.

It’s Evans who steals the show with his strongest performance to date. John is a dejected, tired man, grappling with terrible pay and filthy roommates — a man who checks very few boxes in a matchmaker’s algorithm. But it’s these flaws that make him human; it’s these imperfections that keep him grounded. Evans pours his heart out on screen, delivering a vulnerable, confident performance. Despite John’s circumstances, he’s a shining ray of hope, ousting Lucy’s cynicism. He’s Song’s vessel for humanity in a superficial world. 

While not as quietly brilliant as “Past Lives” or as funny as a traditional rom-com, “Materialists” reinforces Song’s presence as one of the finest voices in film — a messy, heartfelt portal into the pitfalls of modern love. 

Popcorn rating: 4/5 bags of popcorn

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