Barbie (2023)

Score: B+ (8.5/10)

Regardless of Mattel’s plan with their merchandise in the film industry, their first crack at it is a smash hit. However, once past a Barbie doll’s quirky and enjoyable surface, Barbie pushes for feminism and masculinism for Barbies and Kens alike, treating both sides respectfully and giving audiences a good laugh.

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Mattel is an industry-leading toy brand and the company behind the likes of Hot Wheels and UNO. However, because of its highly marketable products, Mattel ventured into the film industry multiple times before. Shows like Hot Wheels: Battle Force 5 and Monster High are the best and most recent examples of their branding hitting the mark. However, their primary output lies in their Barbie merchandise, a well-known factor among the brand’s forty-two animated features. Naturally, Mattel knew Barbie was THE brand to bring onto the big screen. However, the result of the decision, Barbie, is a strange yet humorous venture into feminism and masculinism, particularly with Barbie and Ken taking center stage.

Greta Gerwig is no stranger to pushing feminism in her filmography. Luckily for her, Barbie is the perfect movie to show it off. The film isn’t afraid to point out how influential Barbie dolls are to people. It first provided women empowerment in an era where they did not. However, as time progressed, many argued the dolls had the inverse effect because they represented what women could do instead of what they dealt with daily. The idea leads to an empowering speech from Gloria, played by America Ferrera, about societal expectations placed on women in the modern day. What Gloria preaches also applies to people’s mentality towards others, where one wrong word may be the difference between being loved or hated.

However, one overlooked aspect of Barbie is the secondary focus on masculinism. The Kens, headed by Ryan Gosling’s Stereotypical Ken, become “antagonists” because the Barbies, headed by Margot Robbie’s Stereotypical Barbie, have preferential treatment. The saying, “It’s Barbie and Ken,” makes audiences realize how overshadowed Ken is as a doll and a person. Ken is an accessory to and for Barbie, limiting his time in the spotlight. It makes Stereotypical Ken’s appraisal of patriarchies (and horses) more approachable because it's his way of feeling validated by society. He may have taken it too far, but it’s within his right to proudly live with who he is without being “just Ken.”

Speaking of being “just Ken,” I must mention the film’s comedy. It’s nothing but fourth-wall humor, helping the film make some legitimately laughable jokes and moments. “I’m Just Ken” is hilariously choreographed, adding to the pre-established masculinism provided by the song. The film is also unafraid to call itself, only heightening the movie’s experience and audience perception. Most jokes would never land without the casting of Ryan Gosling and Margot Robbie, who did stellar work as two baseline Barbie dolls. It’s relieving to have comedy in a movie filled with existential and patriarchal crises throughout its runtime. It allows for people who wouldn’t usually watch Greta Gerwig’s films or movies similar to Barbie. It’s a great feeling to have walking out of a movie theater.

Ironically, Barbie offers an ideal counterpart to Christopher Nolan’s Oppenheimer. However, it’s also strange for both movies to include protagonists dealing with existential crises. Barbie specifically combats it via quirky and laughable comedy mixed with bluntly-put societal commentary. However, it leaves it standing in a weird spot. I liked it, but I didn’t LOVE it. I enjoyed its commentary but felt it had an imbalance despite the Kens realizing they’re (K)enough. I laughed multiple times, but I also know I missed the punchline on some jokes. However, the cast is objectively fantastic because of their charisma and nature playing their respective characters. The movie is in a weird spot because it’s weird, but it shouldn’t detract from what it stands for. People should be proud of Barbie’s glitz and glamor because it deserves to be seen by the masses as much as Oppenheimer does.

(For those who chose not to witness Barbenheimer on the big screens, you missed a once-in-a-generation moment of theatrical wonder and enjoyment. I hope you know that.)