Movie Review: “Barbie”

The idea of a Barbie movie seemed like a joke for a long time. It’s a doll with a checkered past due to perpetuating impossible physical ideals, and unlike G.I. Joe, there’s no inherent story built around it. While it has kept up with modernity and changing times, Barbie remains a symbol of a bygone era before many cultural revolutions took place. And yet, despite all those elements, director/co-writer Greta Gerwig has crafted an amazing film that transcends its plastic roots to become about so much more. Existential crises, third wave-feminism and consumerist society are just some of the targets covered by Gerwig’s movie, along with multiple kicky dance numbers! That all may sound dour (except the dancing), but this pop art cinematic experience is hilarious and rarely struggles amidst its weighty topics, providing some terrific moments fueled by genuine heart.

Barbie (Margot Robbie) is the picture of perfection. Living in Barbieland with all the other Barbies (literally, every woman there is named Barbie), she has a blissful existence in a wonderful world that has been transformed through female empowerment and leadership. Ken (Ryan Gosling) and the other Kens are himbos who are there to support the Barbies, but it’s truly the Barbies’ world. Those halcyon days start to crack when Barbie starts finding herself thinking of death, making mistakes and feeling newly negative emotions. After consulting with Weird Barbie (Kate McKinnon), she must travel to the real world and find the lady who was playing with her to repair this rift between the two realities. Accompanied by Ken, Barbie finds a very different world than what she’s used to. Soon, she’s plagued by even more doubts and finds herself hunted by the Mattel corporation. Not even the sanctuary of Barbieland can provide solace, for that too changes in her absence.

“Barbie” is an inventive slice of cinema that’s bursting with creativity and comedy. Robbie perfectly captures the increasingly confused protagonist — a person whose idyllic existence is chipped away by a harsh reality. While much will be made of her outfits and verisimilitude to the source toy, it can be easy to overlook such a stealthily brilliant performance. While Gosling doesn’t have as much depth applied to his character (though he does have a well-defined arc), he truly excels as the comedic sycophant and eventual foil to Barbie. The supporting cast is all game as well, especially McKinnon, Alexandra Shipp as Nobel Prize-winning Barbie, Issa Rae as President Barbie and a scene-stealing Michael Cera as Alan… Ken’s friend. Even Will Ferrell’s Mattel CEO has multiple shining moments of comedy while doing some of his familiar schtick. Gerwig and co-writer Noah Baumbach found the perfect way to comedically weaponize every aspect of the film, including a brilliantly used Matchbox Twenty song.

In addition to being hilarious, “Barbie” looks fantastic. Recreating the toys and accessories in life-size form is a feat unto itself, but those bright colors eventually clashing with the more subdued palette of reality makes for a clear delineation. The costuming is remarkable, perfect for the multiple dance numbers that all drip with a mix of pop-art irony and genuine passion for high fashion. When a change hits Barbieland, the wardrobe and set design are on point to the most ludicrous degree while also making a sort of internal logic. There may not be a more impressive visually assembled movie this year than “Barbie.”

At the heart of the film is… well, real heart. “Barbie” has a lot to say about gender roles, womanhood, ideals, neuroses, phobias, consumerism and much more. It rarely feels didactic and is instead a sincere meditation on all these topics. And as it turns out, it’s all really complicated, not just for the plastic beings of Barbieland, but for everyone — especially women. However, most of these points (and the tongue-in-cheek manner in which they are presented) will not land with younger viewers. Though “Barbie” is accurately rated as a PG-13 movie, with dayglo visuals and impressive choreography that will certainly entertain kids, the multiple jokes about capitalism and misogyny will likely fall flat with them.

For all of its joys, “Barbie” is not a flawless film. Some sequences go on a bit too long, squandering their infectious energy and basic premises by being stretched a bit thin. None of these sequences are bad, mind you — it just feels like they could be cut down to create a tighter experience. Similarly, multiple points are belabored in the comedy and dialogue that feels very much like an “asked and answered, counselor” part of a court proceeding. If “Barbie” were intended for a younger audience, that would make sense, as a certain amount of subtlety must be sacrificed for cognitive accessibility for children. But seeing as this movie feels aimed at tweens and above, these moments of repetition are less required and can be especially pronounced in parts.

With “Barbie,” Gerwig has made a visual and spiritual delight that uses its candy-coated pink shell to deliver some hard truths that are inherently known but rarely discussed. That makes the film sound like a very serious affair instead of the mostly joyful celebration that it is. All the actors are game and 100 percent committed to their roles, gleefully ushering audiences into a deceptively plastic world. Much like the lighter aspect of the comedy, the gorgeous production design and costuming belie the deeper topics that “Barbie” is interested in investigating. It’s a heartfelt celebration of the strengths and tribulations of femininity — in all its many, many forms — that may be the perfect occasion for audiences to hear their feelings given voice onscreen and for others to have a chance to hear them clearly. It’s a “Barbie” world, and we’re all just living in it.