In seminal romantic comedies or dramas, the mark of great writing was in artfully burying the lovebirds' insecurities and hangups in artifice. Pretense. The lovebirds didn't know how to honestly approach their own feelings at first. The distortion revealed the personality of both the situation and the relationship. What's more, it was just fun. The film would slowly thaw this facade until Cary Grant and Irene Dunne finally had, what Materialists calls, the ugliest parts of themselves laid bare for one another. Only then were they ready to embrace. Yet with Materialists , out this weekend, even in moments when the situation calls for vulnerability, the characters are oddly empirical and clinical with describing the things about them that they are ashamed of. These players might as well be performing a passionate reading of a Walmart receipt. Yes, Materialists is very obviously about the transactionality of the dating scene, but the movie ...
“But isn’t it time we stopped accepting in film criticism an anti-emotional, phony rationalism which we know to be not just harmful, but absurd, in any other context? Isn’t it time we plucked up our courage and allowed our hearts as well as our heads to go the pictures?” Raymond Durgnat (Films and Feelings) 1971