The hype for “Barbie” cannot be overstated. It’s been the primary topic of discussion for longer than the announcement of the film, and hasn’t left the discourse since. Some of that is attributed to facing off against “Oppenheimer” which opened on the same day. The rest centers around the sheer magnitude of the cultural relevance the film has been tasked with capturing. Thankfully, we had Greta Gerwig at the helm, a director unafraid to tackle the expectations and ambitions of creating a film worthy of its source material.
Those are big words for a film about a toy, but to dismiss Barbie as merely an action figure for girls would be discounting the invaluable impact (both good and bad) that the toy line has had for decades. Gerwig understands this, and imbues “Barbie” with poignant social commentary that nearly captures the entirety of human existence and the human condition in one big swing. The ambition may be overreaching at times, but the relevance, direct satirical dissection of our own social constructs and the importance of identity and self discovery cannot be understated, and makes “Barbie” a smart, funny, shockingly deep introspective film that owns its power and delivers a message everyone (yes, EVERYONE) should hear.
Written and directed by Gerwig and co-written by Noah Baumbach, “Barbie” stars Margot Robbie as ‘Stereotypical Barbie” and Ryan Gosling as Ken. The star studded cast is too long to name, but it includes the likes of Issa Rae, Simu Lui, Michael Cera, America Ferrera, Will Ferrell, Kate McKinnon, Emma Mackey, Ritu Arya, Alexandra Shipp, Ncuti Gatwa, Rhea Pearlman, and Dame Helen Mirren to name a few. “Barbie” works best when you know as little as possible, as the underlying themes resonant much more when you’re hit with their subversive power blindly.
In short, Barbie (Robbie) exists in Barbieland, a utopia of Barbies who run everything and live their dream of the perfect day every day, with their Kens (Gosling included) relegated to a little more than afterthought. Before long, Barbie begins noticing changes that disrupt her way of life and must visit Weird Barbie (an absolute stellar McKinnon) who informs her that she must travel to the real world and undo the rift that is currently merging their worlds. Barbie (with Ken in tow) soon realizes that the real world was not what she imagined, and everything about herself and her identity will be questioned as she tries to find her place in both worlds.
Though I believe that the film works best in blindness, I would be remissed if I didn’t at least give some thought preparation beforehand. “Barbie” has a lot on its mind, probably more than the film can even handle, and is unafraid to tackle an array of topics like patriarchy, feminism, capitalism, the human condition, identity, belonging, self discovery, gender roles, social constructs and the whole of human existence. Gerwig has basically turned “Barbie” into “Existential Crisis: The Movie,” a bold move that in less capable hands would absolutely crumble under the weight of it all. Thankfully, Gerwig not only puts these complex issues at the core of her film, she beautifully balances them with laugh out loud hilarity, allowing the satire to be both deeply timely and relevant and also silly and fantastical. It’s an incredibly fine line, one that “Barbie” walks on a tight rope with the slightest misstep capable of shattering the entire guise of its trojan horse delivery.
While the messaging is blunt and direct, the stellar production design and impeccable performances make it all palpable in ways that get you comfortable before ripping the sheets off you in the middle and leaving you seen and exposed with vulnerability. “Barbie” is a spectacle, a gorgeous recreation of childlike wonder and imagination come to life whose imagery is an unforgettable visual experience. Everything from the set designs, cinematography, costume design, and expert framing separates “Barbie” as a one of a kind marvel, blending effects and practical sets to near perfection. No frame is wasted even if feels messy sometimes. Gerwig seems set on immersion, and understands that in order for her to get her point across, she has to dazzle with pinks and vibrant technicolor dreamscapes. And then there’s the performances, which match every single bit of bright colors with their perfection.
I am convinced that between “Barbie” and “The Nice Guys,” Ryan Gosling is a comedic wonder trapped in a leading man, dramatic actor body and we are being robbed of a comedy genius filmography. Gosling is 100% in his element here, diving into the ridiculous man child with complete abandon and elevating everyone else around him. Gosling may be as chiseled as the unrealistic doll he represents, but he is dialed into “Barbie” comedically, and it just may be my favorite male performance of the year. And then there’s Margot Robbie, a godsend powerhouse we simply don’t deserve. I will beach off anyone who dares besmirch Robbie, but “Barbie” has the potential to be an Oscar nominated performance. Yes, she is THAT incredible, demonstrating once again why she is one of the best performers of our generation. The level of emotion and vast range she is required to capture in “Barbie” is astounding, and the list of performers able to nail it this perfectly is slim to none. Robbie too is fully committed, and somehow manages to capture every single theme behind her flawless skin and in film unattainable image.
Gosling and Robbie make a delightful pairing; easy on the eyes of course but are welled with deep emotional resonance that bursts from each of them in different ways as the film progresses. Yet another compliment to Gerwig, she understands how to get the most out of her actors, and “Barbie” gets the most out of everyone regardless of screen time.
Micheal Cera as Alan is a little more than a running joke, but even he is given some depth despite intentionally being pushed to the side more often than not. Even Ferrell who is operating on his usual wavelength feels channeled to match the “Barbie” energy, and while his subplot doesn’t always work it still feels like everything and everyone is sharing the same voice. “Barbie” may be messy sometimes, but never feels out of place from anyone and demonstrates a unified front both behind and in front of the camera. “Barbie” doesn’t have a single weak link, no one you can point to and say they don’t belong, which is truly saying something for a cast this large.
More than anything, “Barbie” has something to say, and those who refuse to hear it are both missing out and are sadly a part of the problem. Look, I am a man and I cannot begin to understand what it’s like to be a woman. But I also strive to be an ally, and work to gain a deeper understanding of things I don’t know to be a better man and a better partner. “Barbie” makes all sides feel seen, unabashedly expressing the constant state of uncertainty and fear and unrealistic expectations of what it’s like to be a woman while also taking big stabs at toxic masculinity and male identity tied to things and women themselves. It’s a lot, but it is necessary to be this bold in a package delivered on a such a large scale. “Barbie” is a statement piece, a relevant social commentary often relegated to the fringes now taking center stage and declaring itself boldly and unapologetically. Ferrera delivers a monologue that is just so devastating and earnest it’s hard to even begin to recount all of its points. Sure, you can say it’s all too much and little too in your face, but “Barbie” knows that we don’t talk about it enough and uses the fantasy and silly satire to deliver a brain worm that breeds discussion and necessitates introspection.
“Barbie” isn’t necessarily about burning down the patriarchy (but I mean, yes it kind of is) moreso than its about accepting and owning womanhood, flaws and contradictions and complexities and all. Life isn’t a dream house, life isn’t Barbieland. Life is complicated and draining and exhausting most of the time, and “Barbie” asks us to discover ourselves, our TRUE selves amid the chaos and grow to celebrate the small wins and strive to be our best in a world designed to keep us from barely surviving. Yes, “Barbie” is heavy, and your kids probably won’t get half of it. But you should go in with an open mind and allow its satirical and purposeful messaging to ask yourself questions. Existential crises are hard, but are far more common and uniting than we often give them credit for, and somehow “Barbie” understands that more than even the most nihilistic of films and stories.
“Barbie” reminds us it’s okay to be afraid. It’s ok to not have it all figured out, to recognize the flaws in our lives and our systems, the misplaced value we often pretend is how it should be but never really work to discover our own self worth. “Barbie” is a catharsis shrouded in biting satire and vibrant imagination, and will stick with you longer than you might expect and just may have you doing some much needed soul searching. Ya, sometimes we do think about dying and wrestle with our own mortality (lord knows I do as death is literally my biggest fear), yet the film is a sort of reassurance that it’s ok to admit that to ourselves sometimes. “Barbie” may make you feel uncomfortable and may even make you feel seen, but it is also what many of us probably need right now. The world needs “Barbie,” and not always in the way we or even Barbie may think. And that is true movie magic.
Also, “Barbie” sports the best use of Matchbox 20 ever put on film, and is probably one of the funniest bits in the entire film. Thanks, White Savior Barbie!
Rating: 4.5 out of 5 Stars
“Barbie” is now playing in theaters. You can watch the trailer below.
