Barbie review – a riotous, candy-coloured feminist fable

Mattel should be thrilled. Audiences will be delighted. It’s a riotously entertaining feminist fable that manages to simultaneously deconstruct and satirize its happy-plastic subject, the Valley of the Dolls. Beyond that, it’s a live-action feature film that is a mashup of Pinocchio, Toy Story, and Josie and the Pussycats, with a candy-colored, feminist twist. Greta Gerwig, the director-writer, has reinvented Mattel’s most famous toy in a cinematic sugar-rush.

In the real world, all women can be powerful and happy, achieving great things as presidents, physicists, doctors, lawyers, or anything else they desire. However, Barbieland is a fantasy world where big-haired dolls reign supreme. In the real world, there are issues with feminism and equal rights that need to be addressed.

Like a nightmarish, dreamy version of the horsemen of the Apocalypse, Apocalypse Barbie develops cellulite on her flat feet – worse still, she finds herself haunted by thoughts of death, anxiety, and sadness. This habitually smiley creature surprises herself when a sardonic gag about casting one’s mind comes to her. Helen Mirren’s narrator makes this role the perfect one, as she is the producer-star of this self-referential fluff without an appendage at the center. But mainly, it is just an appendage-less Barbie. Except for Ken, who is just a hapless Michael Cera. Everyone here is Ken, except for John Malkovich, who is a dreamy and nightmarish version of the horsemen.

The men (and horses) are in control, where The Patriarchy quickly finds out who Gosling), Ken Stowaway is accompanied by, the reality our fairytale heroine must embark on a ride, Enchanted in a manner similar to Amy Adams, Now the next world and this one have opened a wormhole that reveals (“she was played with too roughly”) a visit to “Weird Barbie” McKinnon’s Kate.

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Ryan Gosling’s ‘deliciously vacuous’ Ken. Photograph: Courtesy Warner Bros. Pictures

“And ‘everybody despises women!’ And ‘men objectify me’ in which Barbie appears to have contributed to the development of a dystopia, adding; ‘You have reversed the progress of the feminist movement by 50 years, you authoritarian!’ Since you were created”, informing her that “you have been causing women to feel insecure about themselves, who informs her that Barbie has encountered gothic teenager Sasha (Ariana Greenblatt), insisting that Barbie return ‘to the confines of the box’. However, at this point, Will Ferrell is reprising his role from the Lego Movie as the adult suppressor of youthful aspirations, Meanwhile at Mattel Headquarters.

The official release of the movie, which tells the tragic story of a talented musician whose life was overshadowed by the unrealistic expectations of the Patriarchy and society’s attitude towards women, has never been seen before.Output: The authorized premiere of the film, which narrates the sorrowful tale of a gifted musician whose existence was eclipsed by the unattainable hopes of the male-dominated system and society’s perspective on females, has never been witnessed previously.

Her film, when compared to classic works, provides a means for those with more pretentious tastes in cinema to justify their enjoyment of it, all while still appealing to the original audience of the source material. Similar to her exceptional adaptation of Louisa May Alcott’s Little Women in 2019, Gerwig’s latest work will surely please both experienced critics who appreciate clever film references and younger fans who grew up watching animated favorites like Barbie in the Nutcracker and Barbie of Swan Lake. This inclusivity ensures that no one will feel excluded. Additionally, there are humorous references to fanatical devotion to Zack Snyder’s director’s cut of Justice League, the male-centric symbolism in Coppola’s The Godfather, the iconic snow globe from Citizen Kane, and the infamous red pill from The Matrix.

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Isn’t it amazing how everything in this movie, directed by Gerwig and starring Robbie, ensures that the fizz of madness is present? But it is Rhea Perlman’s moving cameo as the creator of all this madness that really stands out. Without her, this audacious and flim-flam-filled film could have fallen flat. And Robbie’s performance, carried on her shoulder-high by the deliciously vacuous apex-Ken Gosling, adds a heartfelt touch. He wants to take control of the government, brainwash your friends, and dismantle male dominance, all culminating in an entertainingly feisty and dismantling finale. It reminds me of Baumbach’s smartly written co-script with Noah, constantly attempting to reinvent and embarrass Mattel’s discontinued models and their products to incur consumer/retailer ire.

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