Modern dating feels like sitting at a slot machine in a casino, swiping through a bevy of potential suitors like pulling the handle and hoping to see the shiny flash of that one perfect jackpot. Celine Song attempts to explore this phenomenon in her follow-up to the bittersweet love triangle of Past Lives, but it is not nearly as an incisive romantic-comedy study of contemporary dating culture as it wants to be.
Dakota Johnson’s flat affect is perfect for the role of Lucy, a professional matchmaker who views the dating scene as a “marketplace” where a person's value is only measured by how much money they make. Despite all her cold restrictions on love, she becomes torn between a wealthy businessman, Harry (played by a warm and assured Pedro Pascal), and her ex John (a subdued Chris Evans), an aspiring actor and part-time cater waiter.
Lucy’s cynicism lacks the cosmopolitan wittiness of something like Whit Stillman’s Metropolitan; instead, her diatribes begin to feel repetitive and redundant. No one would actually talk the way she does. Her shallowness, matched by Dakota Johnson’s detached delivery, does not make her character very engaging or realistic, even as she is caught in a half-hearted romantic dilemma. The choice she will make is rather obvious, so the tension is minimal.
The final act tries to inject dramatic weight with Sophie (Zoë Winters), Lucy's most desperate client, who is sexually assaulted on a date. Lucy is stunned by the callous, corporate treatment of this tragedy and feels guilty. Sophie strangely swings between anger and gratitude, demonstrating that Celine Song is uncertain how to handle such a sensitive storyline. Add in Lucy’s sudden, unearned shift from cynic to hopeless romantic, and the third act stumbles.
In the end, the film is just as cold as Lucy herself—never romantic enough to sweep audiences off their feet, but not sharp or dark enough to work as a bitter satire. It lands somewhere in between, a sophomore slump from an otherwise emotionally-attuned female director.
Why should public libraries add this romantic comedy to their shelves?
Although uneven, this glossy A24 release will still attract plenty of casual viewers interested in modern love stories and familiar faces. Dakota Johnson, Pedro Pascal, and Chris Evans ensure strong patron recognition, making it a likely pick for light weekend viewing. For libraries, stocking it adds to the growing collection of contemporary A24 titles that patrons regularly request—particularly those curious to see how acclaimed directors tackle the changing language of dating and relationships. Even if it doesn’t hit every emotional note, it fits comfortably within the “new indie rom-com” niche that performs well for general circulation.
Is this A24 romantic comedy a good choice for community screenings?
Yes—mainly for audiences who enjoy character-driven relationship dramas or want to explore current portrayals of love in the digital era. It’s a conversation starter for casual film nights or library-hosted “modern romance” screenings, offering recognizable stars and a stylish presentation that appeals to adults and older teens. While not an ideal educational selection, it works as low-stakes, accessible entertainment for community gatherings—perfect for audiences who appreciate A24’s brand of sleek, talk-heavy dramedies.
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