MOVIE REVIEW: The doll that changed the world faces the world she changed in this fizzy meta-comedy. Barbie
, is a live-action Mattel production, marking the first time the iconic toy has ventured beyond computer-generated home entertainment made for little girls.is not made for little girls, per se, though it does open with them. Aping the Dawn of Man sequence in, a group of stony-faced little girls joylessly play with boring old baby dolls.
The script, by Gerwig and partner Noah Baumbach, establishes the parameters of this bubblegum-pink world in a zippy montage. Barbie Land is a matriarchal society, wherein Lawyer Barbie and Doctor Barbie and President Barbie, et al., are thriving, and the Kens mostly exist to look good and provide sexless companionship. A bleach-blond Beach Ken pines terribly for Robbie’s Barbie, but she’s got other things on her mind: Mainly, that she’s been having very un-Barbie-like intrusive thoughts.
That crisis sends Barbie and Ken to the real world, where Barbie starts to understand what it means to be human and Ken responds giddily to his first exposure to the patriarchy. There’s also some slack business with the Mattel board of directors, and a more fruitful subplot featuring America Ferrera, in a lovely, graceful performance as a mom devastated by her tween daughter’s emotional distance.
The movies are in existential crisis, too. We’ll pause here to lament that a generation of filmmaking talent has seen their career trajectories constrict to an IP pinpoint pupil and that we moviegoers are only being serviced big-budget movies attached to preexisting properties – a franchise, a comic book, a video game, a toy – in an ouroboros of ever-diminishing returns. That said,is about as personal and idiosyncratic a creative statement as you could conjure within the studio system.
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