MATERIALISTS*

Writer-director Celine Song's follow-up to her wildly, and rightly, praised debut feature PAST LIVES is a dud.  I just don't get it. It wasn't funny, it wasn't romantic, it didn't have a lot of dramatic tension, and it tried to balance wry commentary on modern dating with a very serious assault storyline that jarred tonally and was handled too lightly and peripherally for my liking. I don't think you get to use a plot device like that to further your protagonist's emotional arc.

Dakota Johnson stars as a modern day matchmaker dealing with New Yorkers' unrealistic expectations.  She values her clients according to material aspects - age, wealth, height - and given her childhood marred by parental fights over money - seeks a rich husband herself.  At a client's wedding she seemingly gets everything she wants in "unicorn" rich handsome Pedro Pascal.  But she also runs into her old boyfriend, a poor and shambolic wannabe actor played by Chris Evans. There is zero dramatic tension as to who the matchmaker will end up with.  This story is one of her journey to accepting actual real love as opposed to material comfort.  Even worse, there is none of that intimate, deeply felt, perceptive storytelling that we got in PAST LIVES.  There's only one scene that even approximates it, when Johnson and Evans' characters are observing a wedding from a distance, just as the couple created imaginary stories for diners at the start of PAST LIVES. What a tremendous let down.

MATERIALISTS is rated R and has a running time of 116 minutes. It was released in the USA in June and will be released in the UK on August 15th.

THE LIFE OF CHUCK**

I don't get the Toronto film festival audience hype for the latest Stephen King adaptation, THE LIFE OF CHUCK. It barely feels like a film at all, but two short films that do not cohere.  I wasn't moved: I didn't get it.  To be fair, I really liked part one.  It's a dystopian future where the world has been overtaken by climate change.  In affluent America, a divorced but friendly husband and wife (Chiwetel Ejiofor and Karen Gillan) potter about their everyday lives, navigating the rising suicide rates and the intermittent loss of the internet.  The quiet, calm observation of how the end of the world might intrude upon our everyday lives is well observed and an interesting thought experiment. The only weird note is that they keep seeing billboards thanking an accountant called Chuck for his great life - "the last internet meme".  We never learn what was behind the billboards, but we do then flip into Chuck's backstory. He's an orphaned kid raised by his charismatic grandparents - Mark Hamill as the sardonic, weary but fun grandpa has his best role in years.  Chuck learns to dance with his grandma and has two dance set pieces - one with the young Chuck at a school dance and another with the adult Chuck and a busker.  Adult Chuck is played by Tom Hiddleston, who is himself an internet meme with his love of dance. So it doesn't feel like a character is dancing but Tom is on another instagram reel. The social media notoriety actually took me out of the story, insofar as I was ever in it, and the dance scene had none of the loose breaking free of Mads Mikkelsen in ANOTHER ROUND.  What's the message of this strange film? That we all contain multitudes because we contain memories of all the people that we have ever loved? I can get behind that. That we are so narcissistic we think the whole world existed so we could dance? Er...okay.  Strange film. Doesn't work. 

THE LIFE OF CHUCK is rated R and has a running time of 111 minutes. It was released in the USA in June and will be released in the UK on August 22nd.