BARBIE – Review

And now the topper to one of this movie year’s biggest trends. Sure, we’ve had comic book superheroes, action tentpoles, and even a couple of flicks based on TV shows. But who knew that 2023’s box office would be “turbo-charged” by “toy stories”. No, I’m not speaking of Woody and Buzz. No, we started the year with a horror hit based on a phony toy that’s not named Chuckie, M3GAN. Then came the true story “spy-like” thriller about the creation of the video game TETRIS (I consider it a toy, so nyah). the stakes were raised considerably by another pixel powerhouse, THE SUPER MARIO BROTHERS MOVIE, followed by a new Transformers entry (also in that “action tentpole” category). And now, at last, “the queen” has arrived. Yes, the perennial princess of the toy department shelves comes to the big screen (after a slew of “straight-to-video” releases and a few TV shows), and she looks fabulous at age 64 (cue the Beatles ditty). Of course, she’s “pretty in pink”. (Imagine Ed McMahon or Nicholson in THE SHINING) Herrre’s BARBIE!

After a terrific nod to a cinema classic via a prologue narrated by Helen Mirren (you may have caught it in an early teaser), we’re whisked away to the wondrous realm of “Barbieland”. In the prettiest of the pink houses lives “stereotypical” Barbie (Margot Robbie), who is just beginning her day. After floating into her convertible, she cruises through the town to wave good morning to the other Barbies, even President Barbie (Issa Rae). Oh, and she’s greeted by the “spin-off” toys, Skipper, Midge, and the awkward Allan (Michael Cera). Finally, we’re at the beach for a visit from the adoring but dim Ken (Ryan Gosling), who’s thrilled to see Barbie but furious at his rival, another Ken (Simu Lui), along with assorted other Kens. But he still gets an invite to Barbie’s big nighttime “rager”. But the singing and dancing are nearly derailed when Barbie warbles a lyric questioning her mortality. This “glitch” continues into the next day, when Barbie endures several odd occurrences like “morning bad breathe” and, to everyone’s disgust, “flat feet” when she steps out of her stylish high heels. Confiding in her Barbie BFFs, they implore her to seek help from “weird” Barbie (Kate McKinnon). Her prognosis: Barbie’s “human” handler isn’t “playing” with her “correctly”. And so Barbie must venture into the “real world” and find her. The trip gets ‘trippier” when Ken “stows away” in her car. The duo is in for a wild journey as they deal with a woman named Gloria (America Ferrera) who works at the doll HQ Mattel. She’s a dream compared to her snarky pre-teen daughter Sasha (Ariana Greenblatt) and the excitable CEO (Will Ferrell). But all this pales to the radical “rewiring” of Ken himself, a personality change that threatens all the denizen dolls of Barbieland.

Could there be a more perfect casting choice than Robbie in the title role? Ten years ago she almost set movie screens afire as the “trophy wife” in THE WOLF OF WALL STREET, but she was intent on being more than “eye candy”. Robbie has forged an impressive movie resume, carefully juggling dramatic and comedic roles. In this story, she really gets to showcase those skills. Sure Barbie is bubbly and perky, but we see her confusion as the dark thoughts seem to engulf her. Robbie expresses that panic as she is overwhelmed by the chaos of the “real world”. She’s more than up to the challenge, bouncing from zany comedy to getting her first pangs of heartache. Perfectly balancing her pathos is the inspired comic performance of Gosling. He’s grabbed laughs before in CRAZY STUPID LOVE and LA LA LAND, but here he totally gives himself over to the buffoonish antics of the ultimate “himbo”, Ken. Yet, for all his goofy behavior, there’s a child-like charm to him. Gosling somehow holds on to that even after Ken has a much different reaction to “reality”.Speaking of that “setting”, Ferrera as Gloria is the story’s real dramatic “anchor” as the adult “human” who still has a sense of wonder about Barbie, but is hardened to the ways of society, highlighted in her rousing monologue about what the world expects of her gender (a riveting “throw down the gauntlet” moment). Greenblatt as her daughter Sasha makes her more than a cliched surly movie teen. Sure she’s wanting to “spread her wings”, but we see how Sasha still yearns to be on an adventure with Mom, even beginning to admire and respect her. The film also benefits from the supporting work of several comic vets. Ferrell is still a manic “man-child” as the exec, but he never “takes over” the tale with shrill slapstick and makes his character more than the “suit villain”. McKinnon makes great use of her loopy, off-kilter persona as the Barbie “who’s been played too much”, giving her a zany “sing-song” line delivery and using a near-marionette ‘floppy” body language and movement (almost like a certain scarecrow). Cera also has lots of fun with his nerdy screen image earning chuckles every time he’s awkwardly waving at the “first string toys”. I won’t spoil the identity of her role, but it’s terrific to see Rhea Perlman as a warm, nurturing mystery woman.

Huzzaah to director Greta Gerwig for delivering an impressive solo directing hat trick, building on her terrific work on LADY BIRD and LITTLE WOMEN to give us this intelligent fantasy farce that’s also a keen social satire. I must mention that she also co-wrote this with Noah Baumbach (a fabulous filmmaker himself and her spouse). Bravo for addressing the many criticisms and controversies swirling around the iconic toy over the last few decades, using them to lay out a clear message of female empowerment, while never lecturing. Rather than having Barbie and her pals dashing around and evading the “people” ala the TOY STORY flicks, they venture among with almost no secrecy, making the story a “switcheroo” on THE WIZARD OF OZ with a pinch of SPLASH. Plus it really has fun with the history of the toy franchise as we meet characters who never really “caught on” while making playful jabs at the “product powerhouse”. Oh, did I mention the eye-popping visual treats, some that come close to the spider-verses? Barbie’s “suburban subdivision” recalls so many of the “big box” playsets with her closet resembling a full-scale “fashion accessory” flat box. Yes, the fashions are great ‘call-backs” to the classic looks, especially that black and white striped one-piece swimsuit in the opening prologue. The pace is breezy and bouncy thanks to a wonderful soundtrack of pop standards and hilarious original tunes. Now some of the themes and subplots may go over the heads of the youngest viewers, but those with memories of lazy afternoons creating adventures for the characters will really get a real nostalgic euphoria along with subtle societal parody. Really this is a great time at the movies, perfect for the Summer. And to paraphrase the old ad line from Mattel, BARBIE…it’s swell!!

3.5 Out of 4

BARBIE is playing in theatres everywhere