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Famous as Harley Quinn from the Suicide Squad, Margot Robbie is loved by all. She has also been featured in Times Magazine list of most influential people of 2017. Gained recognition with the TV show Neighbours and also helped her in receiving positive reviews. She is best known for movies like I, Tonya(2017), The Wolf Of Wall Street(2013), Mary Queen Of Scots(2018), The Big Short(2015), Goodbye Christopher Robin(2017), Suicide Squad(2016), etc.

Margot Robbie

Ryan Gosling is a Canadian musician and an Oscar-nominated actor who rose to worldwide fame with the highly successful romantic drama The Notebook. He went on to garner critical acclaim for his performances in films like Half Nelson, Lars and the Real Girl, Blue Valentine, La La Land and Crazy, Stupid, Love among others. Gosling is also an accomplished jazz guitarist.

Ryan Gosling

Greta Celeste Girwig is an American actress, playwright, screenwriter and director. Girwig grew up in Sacramento, California and went to Barnard College where she founded an improv group called “The Tea Party Ensemble”. She made her directorial-debut with Lady Bird, a critically-acclaimed comedy-drama movie which won the award for Best Motion Picture - Musical or Comedy at the 75th Golden Globe Awards. She also became the fifth woman in history to be nominated in the best Director category at the Academy Awards.

Greta Gerwig

Simu Liu is a Canadian actor, writer, and stuntman. He is known for his performance as Jung Kim in the award-winning CBC Television sitcom Kim's Convenience. He received nominations at the ACTRA Awards and Canadian Screen Awards for his work in Blood and Water.

Simu Liu

Emma Margaret Marie Tachard-Mackey is a French-British actress. She landed her breakthrough role as Maeve Wiley on the Netflix comedy-drama series Sex Education, which earned her a BAFTA Television Award nomination for Best Female Comedy Performance. 

Emma Mackey

Will Ferrell

Michael Cera is a Canadian actor and comedian who made his acting debut as the young Chuck Barris in the biographical-spy comedy Confessions of a Dangerous Mind. He has played leading roles in several comedy films like Superbad, Juno and Scott Pilgrim vs. the World. Cera is also a musician who has established himself as the touring bass player for a band known as Mister Heavenly.

Michael Cera

After being expelled from Barbieland for being a less than perfect-looking doll, Barbie sets off for the human world to find true happiness.

Barbie (2023)

Barbie | Main Trailer

Bollywood Hungama

Times of India

India Today

Rediff

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BARBIE is the story of a doll who suffers a crisis. Stereotypical Barbie (Margot Robbie) lives in Barbieland, a matriarchal society along with other Barbies. Life is quite content as all the Barbie residents are confident and successful. They run the society and government with ease. The Ken residents, meanwhile, engage in recreational activities at the beach. Ken (Ryan Gosling) is in love with Stereotypical Barbie but the latter doesn’t reciprocate his feelings. All is going well until one day, Stereotypical Barbie realizes that she has developed flat feet and is getting thoughts about death. She also develops cellulite. She approaches Weird Barbie (Kate McKinnon), an outcast, who suggests that she should travel to the Real World to find out the kid who’s playing with her. Weird Barbie believes that the child, who owns the doll, is struggling in real life and this is affecting Stereotypical Barbie. She leaves for the Real World and is accompanied by Ken when he hears that she wishes somebody accompanies her on this trip. Stereotypical Barbie reaches the Real World and her world comes crashing down. Ken, too, gets a reality check. What happens next forms the rest of the film.
Greta Gerwig and Noah Baumbach's story is a masterstroke. The manner in which the writers have done justice to the iconic doll and also incorporated feminist themes is seen to be believed. Greta Gerwig and Noah Baumbach's screenplay is highly entertaining. They have spoken about serious issues but have not compromised on entertainment. They have peppered the film with sufficient funny and crazy moments. The dialogues are terrific and some of them are sure to induce claps and hoots.

Greta Gerwig's direction does justice to the excellent plot at hand. She has kept the mood very light even though the film gets emotional in some places. The Barbie doll has a huge fan following and care has been taken that the brand doesn’t get hurt. Just like the LEGO MOVIE series, the unique characteristics of the Barbie toy set have been neatly incorporated into the narrative. At the same time, the way Greta has taken a funny dig at the manufacturing company, Mattel, is hilarious. But what one takes away from the film are its comments on patriarchy and women empowerment. It is unexpected and will be lapped up by the target audience.

On the flipside, the whole angle of the real world influencing life in Barbieland and vice versa is a bit difficult to understand. The fight at the beach in the pre-climax is imaginative but also random. It doesn’t induce laughs as intended. Lastly, the climax is difficult to digest and will leave audiences divided. Nevertheless, it leaves scope for a sequel.
Speaking of performances, Margot Robbie looks every inch like a Barbie doll. She owns the character and one can see that she’s having fun with it. She also shines in the emotional sequences. Ryan Gosling is terrific. Ken is miles away from anything else he has done before. But he effortlessly slips into his character. Kate McKinnon leaves a mark. America Ferrera (Gloria) is the surprise of the film. Her monologue is one of the highpoints. Will Ferrell (Mattel CEO) is too good. The other actors who do well are Issa Rae (President Barbie), Sharon Rooney (Lawyer Barbie), Simu Liu (Ken), Ariana Greenblatt (Sasha) and Rhea Perlman (Ruth Handler).

Music is neatly incorporated into the narrative. ‘Pink’ is catchy and has a Disney animation film feel. ‘Barbie World’ and ‘I’m Just Ken’ are also well-tuned. Mark Ronson and Andrew Wyatt's music is in sync with the film's mood and theme. Rodrigo Prieto's cinematography is neat. Sarah Greenwood's production is beautiful and imaginative. The Barbieworld, especially, is very appealing. Jacqueline Durran's costumes are absolutely gorgeous and spot-on. It is sure to become a rage. VFX is top-class. Nick Houy's editing is fine.

On the whole, BARBIE is a vibrant entertainer and it also makes an important comment on patriarchy and women empowerment. At the box office, it is all set for a fine opening. If the womenfolk and the family audience accept the film wholeheartedly, it has the potential to emerge as the biggest non-dubbed Hollywood grosser in India.


For all practical purposes, Barbieland is pristine. Various iterations of Barbies and Kens live their beautiful lives in blissful ignorance of the real world. But when the quintessential Barbie (Margot Robbie) begins to have unusual thoughts, she is directed by another Barbie (Kate McKinnon) to enter the world of humans and address her existential crisis. However, chaos ensues when Ken (Ryan Gosling) tags along with her on this quest.
Barbie’s production, combined with its costume, art & set design, is picture-perfect, immersing us into the predominantly pastel and particularly pink Barbieland with a plethora of colourful characters. Played by an ensemble cast, some are given substantially more to do, while others are relegated to the backdrop. Even though this is by design, it does make some of these characters slightly redundant, albeit not overbearing. Margot Robbie reminds us of her incredible depth and range as the main character Barbie and is perfectly cast in the lead role. Ryan Gosling is a scene-stealer whose Ken is an unlikely brand of a jerk that draws laughs effortlessly, often at his own expense. However, the ace in the pack is America Ferrera, who is impressive, especially in one memorable monologue that perfectly captures the complex conundrum of women’s equality.
This brings us to the film’s most vital aspect – its writing. Taking a prominently feminist outlook, Greta Gerwig and Noah Baumbach deftly pull off the tricky tightrope act of a self-aware screenplay that hits hard on the nose while being thoroughly entertaining. Using comedy and musical numbers to charm the audience, the message is deliberately heavy-handed. Sure, there’s a looming question of whom this film is aimed at, and ‘Barbie’ is certainly not just for those who’d play with these dolls. Slathered with satire that eventually sheds off its sugar-coat, this film decisively takes the patriarchal bull by the horns. Quite the risk by toymakers Mattel, Gerwig’s style meets substance with her direction that dissolves all debate of ‘Barbie’ being a corporate cash grab as it will undoubtedly tip-toe its way to the front row of awards ceremonies.

Is it a toast or is it a roast ? This is a question you might ask yourself at several moments in Barbie. The iconic doll who can boast of world dominion is the centre piece of this pop culture ode by director Greta Gerwig.

Barbie has seeped into the psyche of every girl on the planet, but her counterpart, Ken, has existed in the Barbie-verse for only one simple reason - to love her and to unconditionally dote on her. Like Ryan Gosling, who plays Ken, says, ‘There is no Ken without Barbie’. The film is not for kids - it deals with several themes meant for grown-ups and even the jokes and one-liners are actually for adults.
In between the real world and the Barbie world lies another world full of possibilities that turns the tables on both sexes, making them face some pretty poignant themes that are relevant in the real world. The Barbies live in their own Utopia, a perfect paradise where the sun is shining bright and every nail and toe is radiating with the finest manicure and pedicure. For someone who has tip-toed (a perfect metaphor to veer off real life issues) all her life, one fine day Barbie (Margot Robbie) wakes up to find that her feet are actually flat. What begins as an exercise to fix her flat feet with the help of a weird Barbie (Kate McKinnon) soon becomes a life-altering experience for the Barbies of Barbieland.

Even though the film is called Barbie, the most interesting scenes in the movie are from Ken’s point of view. How Gosling plays Ken is just a testament to his acting chops. There would be no Barbie without Ken and no Robbie without Gosling.
Everything from his washboard abs to that cheeky smile and that stand out musical piece are top notch. Gerwig’s take on 'men vs women' and how they play off on each other in modern day society with the reference to 'Barbie vs Ken' discourse is a master stroke. When Ken checks all the boxes on what it takes to be a man and returns to Barbieland to pass on the learning to other Kens, the film hits a solid home run on the emotional turf.
Barbie is a lot of fun. Apart from Gosling and Robbie, two stand out performances that will have you rooting for them are America Ferrera (playing mom to a teenager) and Will Ferrel (Mattel boss). Ferrera is so good and has the best monologues in the film that get claps and cheers from women and men in the audience. Ferrell takes several digs and roasts the makers of Barbie in their own film (what a genius master stroke!).

Barbie is a very important chapter in pop culture history. Gerwig’s use of color and every possible hue and shade of pink and shade of pastels and blue lights up the frame, bringing out the kid in you.
The soundtrack that boasts Dua Lipa, Nicki Minaj and Billie Eilish is a jam and music plays a very important part in the film. The costumes, the ode to iconic brands like Chanel, every piece that Robbie wears should be archived in a gallery.

Barbie opens with a dialogue about what it takes to be a man and what it takes to be a woman. Who decides which gender does what? In a world that is rapidly embracing change and diversity, Barbie will resonate with everyone and anyone who felt left out, not enough or questioned of their very existence. It’s therapeutic but not in a serious way.

Greta Gerwig’s pink ode to celebrating the imperfections in a plastic world that pushes perfection down your throat is a film that will find its place among the halls of movies that defined pivotal pop culture moments in cinematic history.

Young women are constantly figuring out ways to be themselves and nothing else in a world trying to curb their spirit in Greta Gerwig's coming-of-age gems.

This time, her focus is a doll, not just any doll, but an iconic companion from many a little girl's childhood whose candy-coloured confidence and bombshell curves drew more scrutiny and scorn as the years passed by than the innocent joy of formative years they had brought along.

More than its peddling of 'You can be anything' ideals for capitalist gains and brazen promotion of unrealistic standards of beauty, Barbie's enduring foible is its reputation as a low IQ toy. But as long as the sales figures looked alright, nobody messed up the status quo.
Gerwig takes Barbie out of the box, out of her heels and encourages her to move on, and chart the course of her life as she deems worthy.

It's a choice she's never known as a doll until human thoughts invade her brain and bring her face to face with her owner and creator.

Designed for play, party and perfection, mortality is an unheard term in Barbie Land until Stereotypical Barbie (Margot Robbie) stumbles upon it as well as her suddenly flat feet.

What if life in plastic isn't so fantastic after all?

Seemingly, the answer to her existential queries lie outside her impeccably diverse and self-sufficient world running in the pinkest of health by fellow Barbies including a president, a lawyer, a Nobel Prize winner, a discontinued pregnant edition and a wonky one referred to as Weird Barbie (Kate McKinnon is a hoot).

Fine-tuned in a matriarchal set-up, the Kens of Barbie Land happily play second fiddle and exist only to fulfill heteronormative consumer expectations, which makes the presence of the solitary Allan (Michael Cera) a lot more significant if also a little sad.

Once we get a lowdown of how things work alongside a gorgeous tour into its bubble-gum hued architecture and sartorial delights, it's time for Barbie and Ken (Ryan Gosling) to hit the road and set out in the Real World where big boss Mattel's all-male committee (led by a reliably droll Will Ferrell) scrambles to put them back in the box.

Amidst these misadventures, Barbie discovers sexism and sisterhood (America Ferrera delivering THE speech of the year) whereas Ken comes across patriarchy resulting in reversal of roles at Barbie Land.

Where Robbie's warm vulnerability holds its own against her overwhelming beauty, scene-stealer Gosling's fetching portrayal, swooning antics and groovy dancer build a strong case for Kenenergy to outlive Barbenheimer.

Mostly though, Gerwig and her partner and co-writer Noah Baumbach have a field day packing in the punches, pluck, pinkness and patriarchy bashing zingers at a breakneck speed in Barbie's thoughtful confection that takes pride in its pastels and plastic that’s anything but skin deep.

Chuckles come in good measure over relentless comic barbs directed at Mattel.

Although the jokes are certainly self-aware, given the project has the multinational brand's blessings and money, yet shrewd enough to realise humour is a double-edged sword -- a feat Gerwig achieves a lot more boldly than Ben Affleck's Air dares.

Delving into deeper topics, fleshing out a timely satire, rooting for womanhood while being full of beans, dance, music, charm and comedy, Gerwig's creativity knows no bounds doffing her hat at everyone from Stanley Kubrick and Peter Weir to Jacques Demy and Jacques Tati for inspiration.

Back in the 1990s, Barry Levinson's obscure satirical fantasy Toys, boasting of cutting-edge set design, took on toxic masculinity through the medium of toys. What was missing was a lightness of touch that would turn its 'fighting fire with marshmallows' ardour in a movie ahead of its times.

Gerwig possesses this gift in abundance.

She is brilliantly in the moment, looks back in time with a judicious mix of cheer and cynicism while keeping in mind the bigger picture.
One couldn't ask for a better representative to their revolution, person or plastic.

One mention of Barbie and you instantly think of a lean, tall-figured doll who is always well-dressed and has a perfect life. This stereotype is stuck with the doll for years, despite the numerous new designs and models being introduced. Director Greta Gerwig understood these stereotypes and even plays along with them for the first 15 to 20 minutes of the Barbie movie. However, she shatters the glass as soon as she is done playing with the ‘doll’ and gets down to business to tell a relatable, feminist, and applaud-worthy movie that lives up to the hype.

Barbie, starring Margot Robbie in the lead, is set in Barbie Land which has several kinds of Barbies co-existing. We see the stereotype Barbie (Margot), the President Barbie (Issa Rae), Physicist Barbie (Emma Mackey), and Lawyer Barbie (Sharon Rooney), among many more, running the Barbie land while the men, all of them named Ken, double up as their supporters, lovers, and partners.
All goes well in the alter imaginary world until one day, the stereotypical Barbie wakes up feeling unusual emotions. She begins to wonder about death, loses her ability to walk on her toes, and exhibits sad emotions. When she approaches the ‘Weird Barbie’ (Kate McKinnon), she learns that a portal between Barbie Land and the real world has led to Barbie feeling human-like emotions. She is advised to visit the real world to find answers.

Driving through roads, crossing mountains and seas, Barbie and Ken (Ryan Gosling) roller-blade into Venice Beach in California where they meet Gloria (America Ferrera) and her daughter Sasha (Ariana Greenblatt). While Gloria is still a fan of Barbie, Sasha is not on board with the idea of Barbie and even calls her a fascist on her face. Barbie soon understands that her answers are being answered but Ken goes off on a different journey of ‘self-discovery.’ He learns that in the real world, men are treated higher than women and that the concept of patriarchy plays to their benefit.
Ken returns to Barbie Land and brings about drastic changes. On the other hand, Barbie also lands in her own world with the mother-daughter duo and finds out everything is changing. This leaves her worried. How will Barbie save her world? I’d recommend you watch the film and find out.

Greta, with co-writer Noah Baumbach, delivers a colourful, fresh, and probably one of the best concepts of the year. While the film starts off as though it is portraying a delusional world of Barbies, Greta smashes open the plot and lets you in on her feminist take on the popular doll. She is conveying some of the most powerful messages with the film, she is doing it under the garb of humour and coming-of-age, making the impact stronger.

The dialogues and screenplay are the biggest superpowers of Barbie. Greta makes several pop culture references thus adopting the meta narration which helps Barbie take things a notch higher. She also takes digs at Margot Robbie, the concept of Barbie over the years, Warner Bros’ projects, and patriarchy, leaving everyone in splits. Barbie is so strong in its approach towards surprise humour that it somewhat reminded me of Phoebe Waller-Bridge’s style of comedy.
On the acting front, Margot proves she was meant to play the role of Barbie. The actress shifts gears from being the happy-go-lucky Barbie to the Barbie no one has ever seen before with utmost ease. However, Ryan Gosling steals the show. He channels his inner Kenergy so hard that he outshines Margot in a few scenes. He also shows his comedy side in the goofiest way possible. His rapport with Simu Liu in the film, especially in their musical scenes, is hilarious and you will find yourself asking for more of their scenes.

America Ferrera also holds the screen in the film. Her monologue in the film was not only relatable but also very moving. That scene and her performance will be discussed in the days to come. However, she couldn’t match up to Margot and Ryan’s massive energy in the film. Kate McKinnon as Weird Barbie also knows how to hold the camera’s attention but is outshined by Margot.
However, Barbie has its share of flaws as well. The climax is based on convenience and feels a tad bit random, which backfires the whole build-up of the film. To top it off, it appeared as though Greta was confused about how to end the film so she brought in a strange angle, paving the way to several questions but no answers.

Bottom Line: Dear Barbies, take your Kens with you to watch the impressive Gret Gerwig directorial because the film talks on behalf of almost all the struggling women that men truly need to know about. Watch the film for the dialogue writing and Ryan and Margot’s performances.