Directed By Greta Gerwig

Starring – Margot Robbie, Ryan Gosling, Will Ferrell

The Plot – Barbie (Robbie) suffers a life-altering crisis that leads her to question her world and her existence. While setting out on the road with Ken (Gosling), the two navigate the real world outside of theirs, while evading a materialistic madman (Ferrell).

Rated PG-13 for suggestive references and brief adult language

(2) Barbie | Main Trailer – YouTube

POSITIVES

Sometimes it takes the world’s most iconic doll and a revolutionary filmmaker to manufacture a daringly reflective depiction about real world circumstances, and in doing such, “Barbie” is a film that is fearlessly feminist, with a lot of heft to unload in the confines of its thick social commentary. Thoughts about existentialism, role reversals and inner peace were just a few of the things that I truly wasn’t expecting from this ambitious project, but beyond that the way Gerwig as a screenwriter illustrates each of these candid depictions pointing out the true hypocracies of our own world, within the confines of the fantastically imaginative world of Barbieland, which only amplifies the lunacies when comparing ourselves to anything based on a child’s toy. In addition, there’s a ton of heart and emotional resonance to the experience that not only serves as a love-letter to all things Barbie, but also a thorough dissection on projectionism, and how little girls living in an imperfect world can grow to hate a fictional character who represents everything that they’re regretfully not. Gerwig chooses the right moments to take her film seriously, and in doing such supplants an unforgettable message of positivity and warmth to audiences who just came to have a good time, but in leaving find themselves with a more expansive outlook on the world, and what it means to find that compromise that offers something for everyone. Have no fear, however, as the film’s one-of-a-kind consistency in personality helps to elicit a fever dream of funny that exudes itself in everything from the exaggerated emphasis of Gerwig’s own direction, to the production value in every aspect, which is nothing short of Oscar-worthy. On the former, Gerwig and company lose themselves wholeheartedly to the imaginative silliness of the concept, with energy and color marrying an intentional artificiality that mirrors Barbie’s own internal longing, but also the latter’s permeating perfection in everything from wardrobe detail, hair and make-up, artificality of cardboard set designs with C.G backdrops, and of course radiance in cinematography that proves this production has done its homework on the richly elaborate history of its titular titan. All of this combines for an ambitious experience that exudes the essence of its culture in every stylistically sublime decision that plays into the easy-going attitude that audiences will inevitably take to, and as previously mentioned, find themselves surprised by, within the film’s ever-changing depth in emotionality. For performances, this truly is an ensemble piece, with many surprise cameos concocting something energetically indulgent to the characters they immerse themselves in naturally, but the surprises simply end there, as Robbie and Gosling dominate the forefront with a duo of dastardly dazzling turns that define the term ‘Committed’. Visually, Robbie is a shoe-in for Barbie, but it’s the emotional dexterity and imposing gravitas that she brings to the character that is most integral, conveying the internal struggle from within her that demands more, and in turn forces her to literally and figuratively think outside the box, as she explores her own happiness on a geographic road trip. Along for the ride is Gosling, who dare I say stitches his single best performance to date, with razor sharp comedic timing and unshakeable screen presence that draws us to his character, even when the dialogue or scene isn’t pertaining to him. Gosling completely loses himself in the exploration of Ken, which not only brings forth some hilarious reveals about the character, but also produces an element of profound poignancy lurking just below the surface that speaks volumes towards his own internal insecurities that the movie explores by gifting him his own musical number, which is easily my favorite track from a film, this year. Their conductive chemistry towards one another is rich with the reality of their undefined dynamic, especially with the humility of Gosling’s Ken continuously getting shut down by Barbie, and honestly if this film was just about these two, I don’t think its momentum would lose a single step, but thankfully Robbie and Gosling are given a dream team of an ensemble that includes Issa Rae, Simu Liu, Michael Cera, and Alexandra Shipp, to name a few, each lending their talents to the respective cause that pays off in spades towards the film’s finished product.

NEGATIVES

Where the film does face trouble is in the limitation of its marketing strategy, which surprisingly lends itself almost entirely towards adults, with very little substantially for kids to hook themselves onto. As previously conveyed, the film touches on some pretty serious conflicts of our own real world, and considering it does this with long-winded exposition involving many big words and terms that they’re not familiar with, I find this being a very difficult sit that they will pull very little from. From an adult perspective, the lines and terms used are fine because we’ve had experience deciphering each of them in our own lives, but for a child, this will come across as marble-mouthed, which is especially disappointing considering the message of living outside of the box and finding your own internal happiness is one that they deserve to hear, it’s just communicated so strangely and irresponsibly at times that the production often overlooks what should be the single most dominant demographic of its product; impressionable minds. Even the dialogue itself is a bit contradictory when mumbled by these characters who one second don’t understand something as universal as depression, but the next second are dissecting patriarichal motives and where it will inevitably leave each of the female characters. I can understand that this is an entirely self-aware movie that is frequently looking right into the audience with what it’s discussing, but surely there had to be a better way of attaining and conveying this knowledge from characters who are conveniently smart and stupid, casually throughout the film. Finally, my only other critique with the film came with the unfocused emphasis of its climax, which sacrifices the previously established corporate antagonist to revel more repeatedly in the depths of its patriarichal social commentary. I myself am someone who appreciates a movie that has something to say, especially with its connective tissue to current times, but when it starts to feel on-the-nose with overkill in the way it halts the progress of every other narrative in the movie to make points that were already explored, therefore deducing the time to those opposing arcs, it starts to feel very disjointed in the direction that its central narrative is headed towards, in turn leading to a sloppy climax that felt the heaviest in its 109 minute run time.

OVERALL
“Barbie” is a hyper-feministic fever dream of unsettling realities and off-the-cusp twists that are every bit emotional as they are entertaining. Gerwig’s triumphant take on the cultural icon is one that doesn’t come without blemish, especially in the confines of a disjointed third act that postures on preachy just as the damage begins to set in. Even still, the immaculate casting, lusciously lavish presentation and impeccable detail to the richly elaborate history of everything Barbie is something that longtime fans will appreciate, even if the link to younger audiences isn’t always as welcoming.

My Grade: 8/10 or B+