Exploring the Impact of Greta Gerwig, Margot Robbie, and Ryan Gosling on Barbie: A Critical Review

‘Barbie‘ Reviews Are In: Slickly Subversive or Inescapably Corporate?

‘Barbie‘ May Be the Most Subversive Blockbuster of the 21st Century

The highly-anticipated movie “Barbie,” directed by Greta Gerwig and starring Margot Robbie in the lead role, has received a range of reviews that are divided in their assessment of the film’s subversiveness and its stance on corporate influences. In a review by Rolling Stone, David Fear suggests that “Barbie” goes beyond being a two-hour commercial for Mattel and instead offers a subversive take on the 11.5-inch doll phenomenon. Fear argues that the movie delves into themes of self-realization and the complexities of the real world, while also satirizing the Barbie Dreamhouse concept. He goes as far as calling it potentially “the most subversive blockbuster of the 21st century to date.”

We Shouldn’t Have to Grade Barbie on a Curve

Alison Willmore, writing for Vulture, takes a more critical stance on the film’s approach to gender politics. While acknowledging that “Barbie” is a film made by a person, she argues that it falls short of being a rebuke of corporatized feminism and instead appears defensive in its attempts to anticipate and acknowledge criticisms. Willmore suggests that attempting to sneak subversive ideas into inherently compromised branded material may just create a new way for a brand to sell itself.

There are limits to how much dimension even Greta Gerwig can give this branded material

Manohla Dargis, the chief film critic for The New York Times, praises Gerwig’s directorial skills but argues that the film largely avoids addressing the thorny contradictions and criticisms associated with the Barbie doll. While acknowledging that Gerwig slips in moments of critique, Dargis views them as mere nods to the adult audience rather than substantial commentary on consumerism and beauty standards. Dargis suggests that even with Gerwig’s talent, there are limits to how much depth can be given to branded material.

A doll’s life is richly, unexpectedly imagined by Greta Gerwig and Margot Robbie

Michael Phillips of The Chicago Tribune offers a positive review, giving the film 3.5 stars out of 4. Phillips recognizes the constraints of creating a movie based on a doll franchise but commends Gerwig for bringing spontaneity and fun to the project. He also notes that the film includes moments that humorously critique Mattel, leading to some of the biggest laughter in the movie.

Ryan Gosling is plastic fantastic in ragged doll comedy

Peter Bradshaw of The Guardian focuses on Ryan Gosling’s performance, suggesting that he steals the show while the character of Barbie is reduced to a bland comic foil. Bradshaw categorizes the film as entertaining and amiable, but with a softcore approach to addressing the tensions between nostalgia and criticism of a toy that still exists in the present.

Welcome to Greta Gerwig’s fiercely funny, feminist Dreamhouse

Devan Coggan, writing for Entertainment Weekly, acknowledges the winking one-liners and praises Gosling but emphasizes Margot Robbie’s transformative performance. Coggan describes Robbie’s physical portrayal of Barbie as embodying the plasticity of the doll itself. The review highlights the film’s physical comedy and Robbie’s ability to fully embrace it.

Greta Gerwig’s World of Plastic Is Fantastic

Collider’s Ross Bonaime reflects on how “Barbie” could have easily been a mere toy advertisement but instead became an existential exploration of the challenges faced by women. Bonaime praises Gerwig’s vibrant and bold direction and acknowledges the film’s ability to encapsulate both the positive and negative aspects associated with the Barbie brand. The review also commends the popstar-packed soundtrack that adds depth to the narrative.

Margot Robbie doll-ivers

Justin Chang of the Los Angeles Times considers “Barbie” a conceptually playful and sartorially dazzling comic fantasy. He argues that the film successfully makes arguments both for and against Barbie, promoting and deconstructing the brand simultaneously. Chang highlights Gerwig’s intention to engage in a debate about the cultural impact of Barbie, resulting in a fast-paced, multifaceted film experience.

Editorial and Advice

The critical divide among reviewers regarding “Barbie” highlights the challenge of creating a film based on a well-established brand. While some applaud Greta Gerwig’s attempts to inject subversive elements, others argue that the film falls short in fully addressing the criticisms associated with the Barbie doll and its corporate ties. The critics seem to agree that Margot Robbie and Ryan Gosling deliver strong performances, but the overall success of the film in navigating the complexities of its subject matter is subject to debate.

As an editorial observation, it is important to consider that transforming a brand rooted in consumerism and beauty standards into a socially conscious and self-aware film is no easy feat. The commercial influences on Hollywood are pervasive, and even a talented director like Gerwig can only do so much within the confines of branded material.

However, it is encouraging to see the conversations sparked by “Barbie,” with critics exploring the film’s potential as either a slickly subversive work or an inescapably corporate creation. This discourse reflects the need for more diverse and critical perspectives in mainstream media.

In terms of advice, it is recommended that potential viewers approach “Barbie” with an open mind, understand the complexities of adapting a branded concept, and appreciate the performances of Margot Robbie and Ryan Gosling. Ultimately, the film may serve as a starting point for broader discussions about consumerism, feminism, and the portrayal of women in popular culture. Whether one views “Barbie” as a subversive success or a missed opportunity, it is a reminder of the power of film to both entertain and provoke thoughtful reflection.