Movie Review: 'Barbie'

Barbie, the director and co-writer of Greta Gerwig in the summer, is a great success, both technically and sonically. It is a visual feast that succeeds as an escape from joy and battle cry. "Barbie" is so full of incredible attention to detail that you can't catch it all in one sitting; you should dedicate all the vision to the application, for example. shining. It's not just Gerwig & Co. Have recreated a bunch of Barbies in the history of several decades, dressed them in different clothes and hairstyles, and put them in a dream house. They brought these characters to life with infectious energy and friendly humor

Barbie can be funny, with big moments of giggles scattered perfectly. They come from the insularity of the rose-hued kingdom of comedy and physical comedy of the fish out of water and choose pop culture references as the outside world expands. And because the media is smart and all, you can see that you have already seen a good time of the exciting movie, like the homage "2001: A Space Odyssey" and the '80s power ballad. This is an industrial complex.

So, you probably already know the main plot: Barbie (Margot Robbie), the most popular of all Barbies in Barbieland, begins to have real problems. He must travel through the human world to understand himself and discover his true purpose. Her boyfriend, Ken (Ryan Gosling), follows her because his existence depends on Barbie believing in him. Both discover hard truths and make new friends along the way of learning. This bleeding from harsh reality into a well-imagined fantasy recalls the revelations of "The Truman Show" and "The LEGO Movie," but through a dramatic lens that is precisely Gerwig's.

It's a film that acknowledges Barbie's lack of sense of physical power - and the kind of physical problems they can cause in young women - while celebrating her as a feminist icon. After all, there was an astronaut Barbie doll (1965) before there was a real woman in NASA's astronaut corps (1978), the achievement of which "Barbie" commemorates by showing two women dressed in costumes chasing each other among the stars, and Robbie's Earth-bound Barbie greets them "Yay, space!" It is also a movie of Mattel (who made the doll) and Warner Bros. (who distributes the film) at least create the appearance that they are in for an amazingly sharp joke with their money. Mattel's headquarters has a large conference room on the top floor of the men's room with "Dr. Strangelove-inspired lamps" hovering over the desks, but CEO Will Ferrell insists that his company's "genderless bathroom out the wazoo" is a testament to diversity. It's a beautiful trick.

Like the star of a film, Margot Robbie just to find out a good idea between sature and sincerity. It's a perfect shed choice; It is impossible to feel a person's opinion. The purple color, the blue eyes look perfect, of course, but it also shows an incredible optimism, which is the highest requirement for this high world, which covers candy. Later, as Barbie's understanding grew, Robbie carefully managed Gerwig's complex conversations with her record producer and regular collaborator, filmmaker Noah Baumbach. From a smile to a tear and every emotion in between, Robbie finds strength and perfect tone throughout. His work is fun to watch.

And yet, Ryan Gosling is a constant scene stealer as he revels in Ken's himbo frailty. He goes from Barbie's needy stepdad to a swaggering, macho doofus as he throws himself headlong into how he thinks a real man should behave. (Those who watch closely the landscape of Los Angeles will be especially grateful for the places that inspire him.) Gosling sells the enthusiasm of his square-jawed persona and can enter at the same time in the roots of the horror movie "All New Mickey Mouse Club". It's a total hoot.

In the big movie - where all the women are Barbies and all the men are Kens, except for a few - there are many shows. They include the gonzo Kate McKinnon as the so-called "Weird Barbie" who sets Robbie's character on his path; Issa Rae as President Barbie No-Frills; Alexandra Shipp as Doctor Barbie has style and power; Simu Liu as Ken who talks trash and Ken Gosling's woes; and America Ferrera in an important role as a Mattel employee. But we can't forget Michael Cera as Allan alone, careening in Kens beach, even though everyone forgets Allan.

But while "Barbie" is thrillingly ambitious, it's also at times unnecessarily frustrating. After bursting with wave after wave of zippy hilarity, the film takes center stage as it reveals its serious themes. It's impossible not to admire the way Gerwig takes a big swing with intoxicating notions during insane blockbuster season, but she offers so much that the film occasionally stops in its propulsive ways to explain to us, and then explains those points again and again. The satirical, airy edge she established initially was actually a more effective method of conveying her ideas about the dangers of toxic masculinity and entitlement and the power of female trust and collaboration.