An ambitious young New York City matchmaker finds herself torn between the perfect match and her imperfect ex.
“Materialists,” the much-anticipated romantic comedy-drama featuring Dakota Johnson, Chris Evans, and Pedro Pascal, arrives with the promise of a glamorous, celebrity-filled exploration of Manhattan’s dating world. Instead, it offers a confused and fragmented experience, never quite settling on whether it aims for sharp satire, genuine romance, or clever social observation—and ultimately achieves none. Director Celine Song appears to want to examine the chaotic love lives of New York’s wealthy elite, but the film wavers between mocking its ensemble and inviting the audience to sympathize with them. Scenes shift abruptly: Dakota Johnson’s character delivers dry, knowing humor as she maneuvers through a world of privilege, only for the film to veer into earnest, slow-motion sequences that seem lifted from another genre entirely. The frequent tonal shifts make it difficult to care about any of the characters’ arcs.
Chris Evans tries to make the most of his role, delivering some witty dialogue and clearly enjoying himself. Dakota Johnson brings her usual subtle wit, but even she can’t stabilize a narrative that constantly changes direction. The biggest disappointment, though, is Pedro Pascal. Typically captivating even in brief appearances, here he seems disengaged—his character floats through the story with a lackluster charisma that never fully connects. It’s a subdued, uninspired turn that leaves you questioning why he signed on.
By the film’s end, MATERIALISTS has cycled through so many different tones and approaches that none are memorable. There are hints of a sharper, more focused movie buried somewhere beneath the inconsistency, but these glimpses are lost amid the chaos. For a story about characters chasing after everything, it’s strangely fitting that the film itself delivers so little.
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