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Barbie Reviews
All movies are miracles, but Barbie, in particular, is miraculous. Gerwig continues to confirm herself as the most exciting living filmmaker we have, and the box office appears to agree.
I went into the cinema expecting to have a good time and giggle at some doll-based jokes. I did not expect to have a full existential crisis, sob my eyes out, and then burst into thunderous applause when the credits ran.
Gerwig's film suggests that while Barbie may have become a lightning rod for the ills of capitalism and sexism and the conflicting messages society sends young girls, perhaps another act is possible.
There’s more subversion and wit to be found in ancient Doris Day and Rock Hudson comedies than anything on display in Barbie.
Can the audio description please use America Ferrera’s character’s name? No one ever says it, and the whole film she’s defined either by her job title or as a mother. Her daughter has a name, why doesn’t she?
Everyone involved was firing on all cylinders. Casting, acting, writing, directing, production design, music, choreography. All were perfect.
I was smiling ear to ear the whole time, except when I was crying.
The passion here is clear, but when characters stop the action to deliver monologues, the tone and humour get sidelined... It’s hard to ignore the fact that this is a high-gloss branding exercise - and a bit of an ironic one at that.
The possibility of evolution arises, and Barbie the movie finds itself asking the question very few films seem ready to pose of late: What if humanity is the goal, not the pitstop, or a thing to be hacked and overcome?
The delivery of its message feels quite forced, repetitive, and overly emphasized. There’s no trace of Gerwig’s delicate hand. [Full Review in Spanish]
If you spend time looking for and dissecting the manufacturer label, you might forget to enjoy the toy you wanted to have fun with. Now come on, skeptics, let’s go party.
A story about the evils of a greedy corporation owned and operated by men that functions as a real-world celebration of that corporation. What makes that cognitive dissonance all the more sinister is that Barbie is a glorious motion picture.
With an overload of pink (not that we’re complaining), the film took over theatres globally with its timely and heartfelt messaging.
Greta Gerwig's film blazes its way into a strange and bold future where adapting a film from a corporate toy franchise doesn’t immediately feel ugly and anti-art.
The world’s most famous doll turns her thoughts to more existential, philosophical matters in Greta Gerwig’s Barbie, a jazzy and infectiously vibrant summer blockbuster.
Gerwig and Baumbach offer thoughtful commentary not only on Barbie herself and everything she represents, but also on womanhood, feminism, and growing up.
Add it all up and we get an enchanting explosion of pink cotton candy fun, all of which conceals a deceptively nutritious sociopolitical core.
Can we all just “Beach”?
Barbie is equal parts a feminist rallying cry, an educational film, a reaffirmation of healthy matriarchal values, a musical, a comedy, and the kind of movie that everyone, especially young men, should see.
Beneath all the laughs at the expense of men and women is the sad truth that this brand of essentialism itself, of separating Barbies from Kens, of emphasizing their differences, is the thing that damages us the most.
Before she hits the road, being in Barbie Land is just as pleasurable for the viewer as it is for these toys. The depiction of this world is a triumph of imaginative design and skilful craftsmanship.