Review: Is the famous Mattel doll a contradictory cultural touchstone or just a fun, nostalgic toy? The answer is yes, says Greta Gerwig in “Barbie,” wherein the director has a psychedelically, if occasionally uneven, good time trying to have it all ways.
In this hot-pink mess of a movie, we see Barbie in nearly every incarnation, from Stereotypical Barbie to President Barbie , Doctor Barbie , Lawyer Barbie , Weird Barbie and a flotilla of others, living together in Barbie Land, a delightfully gynocentric cul-de-sac community of sisterly support and undeferred ambition.
“Thanks to Barbie, all the problems of feminism and inequality have been solved,” coos Helen Mirren, who narrates “Barbie’s” clever “2001: A Space Odyssey”-inspired introduction.
The running gag in “Barbie” is that Ken’s job is “beach,” and Gosling leans into that superficiality with lunkheaded charm. Once they enter the real world — also known as present-day Los Angeles — the two dolls discover a weird mirror image. In Barbie Land, Ken comes to life only when Barbie looks at him; here, the gaze is all male, all the time: When it’s directed at Ken, it’s admiring, but when it’s directed at Barbie, it’s leering and predatory.
Barbie’s and Ken’s twin consciousness-raisings make for some genuinely hilarious set pieces in “Barbie,” which doesn’t hesitate to throw a little side-eye at its corporate sponsor. Most of the film’s funniest moments belong to Gosling, who along with his fellow Kens morphs into an obnoxious, mansplaining dude-bro.
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