Writer/director Celine Song conjures career-best performances out of a trio of popular actors and serves up a sophomore triumph of a “rom dram” in the marvelous Materialists (A). The auteur with an eye and ear for the art of companionship delivers fresh takes on the nature of love and gives audiences many reasons to care while consistently questioning the conventions of coupling. It’s all more complicated than its seemingly routine log-line implies, as it’s ultimately an incredibly profound meditation on life and love. A young New York City matchmaker played by Dakota Johnson finds her business and personal life getting complicated as she finds herself torn between the perfect match, Pedro Pascal as a wealthy private equity exec, and her imperfect ex, Chris Evans as a struggling actor). The story takes its time to hit effective beats and positions its characters with precision to cast its spell. Johnson is wonderfully empathetic in the lead role, funny and vulnerable and so evocative of her famous mom Melanie Griffith in Working Girl. Lushly photographed by Shabier Kirchner who also lensed Song’s Past Lives, the heroine’s unexpectedly lonely travails in Manhattan are brilliantly juxtaposed against the bevy of brides and brides-to-be celebrating blissfully in various backgrounds. Her character is obsessed with brokering relationships leveraging the math of modern dating, and the film questions many of the equations with pluck and logic. Song superbly stages dialogue-heavy sequences with spark and has a delicate way of depicting characters making connections as if they are the only two people in the whole world, which is quite a wonder in the concrete jungle. Pascal and Evans are both incredibly charming, despite the suspension of belief needed by viewers to imagine Evans without confidence. They both provide lots to love. Prepare for a few trick endings and some surprisingly moving subplots. This is a great summer date film for adults. After becoming the prominent purveyor of the modern love triangle, it will be fascinating what she does next.
With Michael Showalter’s The Big Sick (B+), cinema catches up a bit to television as small screen cast and collaborators bring an outsider cross-cultural sensibility to the traditional Hollywood romantic comedy formula. Star and semiautobiographical co-screenwriter Kumail Nanjiani brings a mild-mannered and endearing quality to his lead performance as a Pakistani Muslim stand-up comic who falls for a woman decidedly outside of his arranged marriage options. Zoe Kazan delivers warmth and wit to the role of the real-life psychiatry student for whom Nanjiani finds himself smitten. Holly Hunter and Ray Romano get some nice bits as her parents, who arrive at a critical juncture in the relationship. The dialogue is largely droll, inventive and natural and the mix of comedy and drama kept at lofty levels. Only in the final act does the film sputter a bit and fall prey to romcom clichés. Overall it’s a winning ensemble and a joyous time, filled with moments that feel new and relatable on screen.