Review: Greta Gerwig goes weird with Barbie, which is part satire, part earnest fable, and part big-minded meditation on the nature of existence. 🔗:
), Writer Barbie , and so on. They live happy days in the company of the Kens, affable dopes cognizant of their second-tier status but not terribly fussed about it. Our main Barbie’s Ken, a beach-bound version of the doll, is played byIn the film’s confused, who-really-cares-about-logic reality, the Barbies each represent dolls that are being played with in the real world, but they themselves can also cross into our realm in their own physical form.
Something begins troubling Robbie’s Barbie. She has a dawning fear of death; her feet have fallen from high-heel ready tip-toe. Most alarming, to her anyway, is the cellulite that has developed on her thighs. In search of some sort of remedy, Barbie leaves her comfortable home to find the little girl currently playing with her in the hopes of cheering her up, thus restoring Barbie’s perfect existence.
Barbie comes to realize that she’s got a complicated profile among the humans. She and her kin have not inspired a utopia in which women do amazing things without barrier or opposition, the way the Barbies have long assumed. Instead the dolls have been largely dismissed as sexist relics, talismans of impossible ideals that have no place in modern culture—which, as Barbie also quickly grasps, is not terribly good to women anyway.
So, yes: Ken gets red-pilled while Barbie embarks on a complicated journey of self, in the process contending with all the expectations and limitations placed on women by the system Ken so naively understands.’s feminist philosophy—decidedly of the pop variety but not shallow, exactly—carries the film far afield of the brand apologia I had feared. Gerwig mostly just shrugs her shoulders at the toy in question and instead turns her gaze toward more intangible questions of life.
Which, sure. What was a Barbie movie supposed to do, solve misogyny? Gerwig knows that her movie can really only tickle and mildly provoke; it’s mostly there to be amusing. And it is, albeit more gently than I think was intended. There are a few laugh-out-loud gags in the film, which I won’t spoil or butcher here, but just as many jokes, if not more, clunk around like cheap plastic. The script is so strenuously wacky that it runs the movie ragged pretty quickly.
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