Barbie (2023) Review

Greta Gerwig’s Barbie is a candy-colored, satirical rollercoaster that blends biting social commentary with heartfelt introspection. With its brilliant design, sharp humor, and nuanced performances, the film celebrates and critiques the legacy of one of the world’s most famous toys. It’s a bold and personal cinematic achievement, proving that even a big-budget blockbuster can retain its artistic soul.

Set in the idyllic Barbieland, where women reign supreme, and Kens serve as accessories to their Barbie counterparts, the story begins with Margot Robbie’s stereotypical Barbie questioning her seemingly perfect existence. When existential thoughts invade her utopia, she sets off on a journey to the human world to find answers, accompanied by Ryan Gosling’s Ken, whose journey of self-discovery runs parallel to her own.

From its opening homage to 2001: A Space Odyssey to its meticulously crafted dream houses and doll-like landscapes, Barbie is a visual triumph. Production designers Sarah Greenwood and Katie Spencer bring Barbieland to life with a tactile, nostalgic flair that blends practical effects with playful Technicolor aesthetics. Every set feels tangible, evoking the childhood joy of playing with a perfectly accessorized dollhouse.

The humor is sharp and self-aware, poking fun at everything from Barbie’s impossible beauty standards to corporate culture. Gerwig doesn’t shy away from critiquing Mattel itself, with Will Ferrell hilariously playing a bumbling CEO whose boardroom of all-male executives embodies the absurdity of a company profiting off female empowerment while perpetuating stereotypes.

Margot Robbie is pitch-perfect as Barbie, navigating the character’s arc from naive optimism to profound self-awareness with grace and charm. Her performance anchors the film, balancing satire with vulnerability. Ryan Gosling, as Ken, is a comedic revelation. His transformation from Barbie’s adoring accessory to a swaggering parody of toxic masculinity is as hilarious as it is poignant, highlighted by his scene-stealing musical number.

The ensemble cast shines, too. Kate McKinnon’s Weird Barbie delivers some of the film’s funniest moments, while Issa Rae’s President Barbie and Michael Cera’s Allan bring charm and levity to the story. America Ferrera and Ariana Greenblatt, as a mother-daughter duo from the human world, provide emotional depth, though their characters feel underdeveloped compared to the Barbies and Kens.

At its core, Barbie is a story about identity and self-discovery, exploring how societal expectations shape us. Gerwig uses the reversal of gender norms in Barbieland to highlight the imbalance of power and the weight of societal roles, sparking thoughtful conversations about feminism and toxic masculinity. Barbie’s journey to the human world forces her to confront the complexities of existence, while Ken’s exposure to the real world leads him to question his own worth and identity.

Despite its occasional unevenness, Barbie is a triumph of creative freedom in a corporate-dominated landscape. While some moments feel overly didactic, particularly America Ferrera’s impassioned monologue about the impossible standards placed on women, the film’s humor and emotional resonance more than make up for these minor flaws.

Barbie is more than a movie about a doll — it’s a vibrant celebration of identity, growth, and the messy, beautiful reality of being human. Whether you grew up playing with Barbies or critiquing them, this film invites you to see the world — and yourself — in a new light.