Cert - 15

Run-time - 1 hour 57 minutes

Director - Celine Song

Matchmaker Lucy (Dakota Johnson) is adamant she'll marry the next person she dates, but when wealthy Harry (Pedro Pascal) enters her life ex John (Chris Evans) comes back re-enters.

When did dating become business, and how long will it continue to be? It's the core question running throughout the opening stages of Celine Song's Materialists.

While her directorial debut Past Lives - one of the best films of that year - was a thoughtful reflection on how people, and relationships, change the opening 40 minutes of her follow-up are among the most cynical I've seen in years.

Song herself isn't cynical, with a snap flashback to the ending of New York City matchmaker Lucy's (Dakota Johnson) relationship with aspiring actor John (Chris Evans), their lack of money being the reason, the human emotions shatter the blunt demands of the world of dating.

Lucy discusses her, quite often wealthy, clients and their possible matches with a straightforward business-like manner, she knows that dating and love are very different things.

Her view of dating, and the sometimes endless ideals of her clients, brings about an almost painfully sharp satire.

Cue an eventual relationship with wealthy financier Harry (Pedro Pascal), despite the fact he goes against what Lucy is looking for.

However, at the wedding which the pair meet at is John, working the tables to make some money before rehearsals for a small play he's been cast in.

Materialists has been widely discussed as a love triangle, yet if there is one here it's not one of fierce competition. Instead, Johnson's character finds herself torn between different views of perfection, the wants from her job and her own.

A rom-com starts to play out, yet one where laughs aren't quite the priority. There are certainly a good number throughout as the world of modern dating, and the various confusions and false standards it can create, is poked at.

And the story is very much Lucy's. Pascal and Evans are certainly key, but they know they're roles are supporting ones, and indeed just how non-leading they are.

By casting the trio of stars in the central roles, Song emphasises the world and themes playing out, with each putting in a good turn.

Yet, Materialists is perhaps a harder sell, at least while viewing, than Past Lives - largely due to the initial cynicism and the tones it strikes throughout.

The general consensus may well be that it's just fine, but there will be plenty of people who strongly dislike it - in the room I saw it in I could certainly feel one or two members of the audience hating it.

However, I think there's an understated sharpness to Song's film. It may not quite have the emotional impact of her former film, but it's also a very different piece tackling almost opposing ideas.

The sudden burst of emotions and displays of a tested connection brings in a bigger emotional connection beyond that of the well-pitched cynical satire which opens things. Materialists is a bold satirical rom-com.

Four stars