It isn’t quite what the marketers are selling (happily, in my case) although ‘Materialists’ will still do well on Girls’ Night evenings.

• ‘Materialists’ was shot on 35mm film, as opposed to the standard digital format, in order to give it the ‘look and feel’ favoured by its director.
• The film’s three stars, Dakota Johnson, Chris Evans and Pedro Pascal, have all taken roles in Marvel movies; one of which is an upcoming release. This is not that kind of movie, however.
• Catch Tat Wolfen’s entertainment commentary on The Sandton Times Hour, every Monday at 7pm on 91.9FM.
• Visit www.sandtontimes.co.za for more stories.

Materialists is one of those tough movies to categorise: It’s a case of “it is, but it aint”. Firstly, it’s being marketed as a “rom-com”, but it isn’t that, because, despite its moments of levity, it isn’t a comedy. So, is Materialists a “chick flick”? I really don’t like that term, because it gets flung around irresponsibly, to describe almost any movie that isn’t action-based, and that deals with human emotions; specifically romantic relationships. That’s a very misandristic position to take, as it assumes that all men are incapable of understanding or appreciating any movie that doesn’t feature gunfights and violence, and addresses issues of the heart.

Having said that, given that the movie drew oohs, aahs, and squeals of delight from female audience members at all the right moments, I would have to concede that it is indeed a “chick flick” of sorts (or a “women’s picture”, as audiences used to label them in bygone eras).

But an out-and-out “chick flick” can be just a boring as a biff-bang “bro show” (copyright T. Wolfen), and this movie is keener than that. It was written and directed by the Korean-born writer-director Celine Song, whose previous movie and feature debut Past Lives deserved to set the box office on fire. Obviously it didn’t, because it focused on real humans, as opposed to caped superheroes.

Both Song’s first and second features deal with love triangles, although Past Lives made no concessions to neat Hollywood packaging, and was unafraid to explore the pensive sadness inherent in real-world living. This time, however, I believe that she’s made compromises, in order to meet commercial American demands. Of course, there’s no crime in that. Everybody wants that Malibu holiday house, and there’s nothing wrong with spanning different audience needs.

Materialists tells of Lucy (Dakota Johnson), a New York matchmaker who caters to the shallow demands of clients with strict checklists, as in: income (in the case of men), looks, height (in the case of men), weight (in the case of women), hairline (in the case of men), and age (in the case of women). She’s still very fond of her ex, John (Chris Evans), a struggling actor, although the nickel-and-diming of his tight budgets had finally sabotaged their relationship. And then, into Lucy’s life comes Harry (Pedro Pascal), smooth as olive oil and loaded as the deck of a cardsharp’s cards.

Enter that age-old movie cliché: should she marry the slick but somewhat cold wealthy guy or the sweet, down-to-earth poor guy? Although the tale is set within these age-old confines, Song’s insightful and sensitive approach does see to it that the film rises above the standard romantic trope to which husbands have been subjected for over a hundred years of cinematic entertainment. Do I think that Song sold out to the cash register, here? Possibly; although it’s also conceivable that she’s a soppy romantic lass at heart. Curse this conflict within me; wrestling tirelessly with this filmmaker’s intentions!

Dakota Johnson’s performance is endearing, vulnerable and human, unlike the many abrasive “girl power” heroines that currently stomp across our screens, and Chris Evans projects an easy-going and likeable persona. I find Carlos Pascal to be smug and unbearably self-satisfied, although, whether I like it or not, he’s currently Hollywood’s Token Latin Lover, in much the same way as Rebel Wilson is the current Token Big Girl, and Peter Dinklage is the Token Dwarf (who resents other dwarf actors competing on his turf). But I digress. I think that Pascal lacks the gentle charm of Latin lovers of the celluloid past, although the woman sitting next to me in the screening sighed whenever he appeared on the screen, so I guess that he must have some kind of appeal.

The film’s soundtrack is peppered with smashing songs that address the pain and glory of romance, performed by the likes of Baby Rose, John Prine, Françoise Hardy, Nilsson, and The Velvet Underground. Damn, but this director has fine musical taste.

Going in, I was less than excited about seeing this movie, although I ended up being quite pleasantly surprised. I should’ve known that Celine Song wouldn’t have given us a standard rom-com, although she does indulge some Hollywood dictates – something that she hadn’t done in her superb debut. The film’s shining virtues, however, lie in its moments of unvarnished honesty and cynicism, carried by dialogue that is pithy, stinging, and astute. Overall, Materialists is a tad too schmaltzy (for Celine Song) to be a great film, yet way too smart to be mediocre. And happily, despite its “chick flick” status, it certainly isn’t a standard-issue rom-com. Until proven otherwise, any poster with Song’s name on it is a signpost of quality.

Tat Wolfen is a multimedia communicator, entertainment commentator and leisure journalist. Tune in for Tat’s razor-sharp takes on the latest on stage and screen, every week on The Sandton Times Hour – Mondays at 7pm on 91.9FM or on a fine selection of the world’s leading podcast platforms. [Disclaimer: Views expressed by reviewers/contributors are their own, and do not necessarily reflect those of The Sandton Times and its ownership or management.]

Stand a chance to WIN with The Sandton Times.

Advertise on The Sandton Times today!

Head back to The Sandton Times Home Page for more stories.