Barbie: The Movie proves that Hollywood can still think Outside The Box
2023 has been a frustrating summer at movie theatres. As successful franchises and spinoffs promised greatness, and then preceded to crumble at the hands of viewer disinterest, my faith in the summer blockbuster was lost. That is until the release of Greta Gerwig’s superb Barbie: The Movie. Barbie: The Movie uses playfulness to exhilarate a script that is both intelligent and purposeful.
When Margot Robbie began attending movie premieres dressed as Solo in the Spotlight Barbie, Enchanted Evening Barbie and Totally Hair Barbie (all popular dolls in Mattel history) I was mystified. I will admit it worried me that Robbie’s commitment to a real life Barbie makeover was merely to bolster a terrible movie, but I was wrong. As the the movie begins Barbie Land is portrayed as if through the eyes of a child. The sets are spot on from Barbie’s dream house to her pink corvette, while the plywood beach waves and waterless pools create a masterful simplicity. My only criticism would be Barbie wearing Chanel throughout the movie. Although the fashion doll has collaborated with the likes of Burberry and Oscar de la Renta on collector editions, seeing the interlocking C’s on “stereotypical” Barbie’s purse and necklace was excessive. Nevertheless, the pink infused world thrives on it’s ability to capture how we engage with Barbie and the role accessories have on the experience.
Greta Gerwig as both Co-Writer and Director expertly uses vibrant imagery to convey dual meanings. Robbie looks exactly like a Barbie doll regardless of her new found flat feet and cute cellulite. Moreover, Robbie moves like a Barbie as she floats in the air, runs stiffly from Mattel executives and flings herself uncomfortably onto the grass. Such rigidity serves as an antithesis to future impassioned revelations. Ryan Gosling’s portrayal of Ken is the perfect counterpart as he suffers his own crisis. Gosling looks amazing and must be praised for his plastic Ken physique, which is showcased in an array of bold outfits. Moreover, Gosling’s acting is exceptional. Ken’s simple and cheerful face carefully conceals his pain and confusion. As Gosling’s Ken navigates the real world trying to get a job we laugh at the delivery of his one liners but understand his demoralization. The Ken War and Ken Dance scenes are equally important as they depict a clear transformation. The Ken War showcases slow and unsteady movements from all the men as they attack each other with silly weapons. Meanwhile, the Ken Dance allows all the Kens of Barbie Land the opportunity to cavort (a la west side story,) bend and jump free from restrictions. Consequently, each inflexible gesture is carefully crafted and executed by Robbie and Gosling to perfection.
Barbie: The Movie is a must watch regardless of age or gender. With a plot line heavily steeped in secrecy I was unsure what to expect as I sat down in the cinema. As a lifelong Barbie fan I played with her long after my friends had lost interest. With her own car, house, extensive wardrobe and can-do spirit, Barbie exemplified accomplishment to me. Like Barbie herself, this live action movie is fresh and unlike anything you have ever seen. The entire cast must be praised for their ability to breathe life into an inanimate toy while touching a variety of people both visually and emotionally. A great example of this is a scene when Barbie enters a box and feels the grip of the plastic twist ties on her wrists. A child watching this will see the all too familiar Mattel packaging while an adult viewer knows the existential dilemma that Barbie is facing. Moreover, America Ferrera as Gloria gives a wonderfully impassioned pep talk. In it she discusses what it means to be a modern woman and it is an unfiltered representation of the reality we live in. Lastly, through Ken’s macho transformation both women and men alike can relate, whether it be a needy ex-boyfriend or the pressures placed on perceived manliness. Never preachy, Greata Gerwig uses creativity and wit to guide us through poignant messages and an unexpected ending. I’m a perpetual Barbie Girl and this movie has only heightened my love for this ambitious doll.
“Mr. Cruise, It’s getting harder and harder to accept these missions”
When the first Mission Impossible movie came out in 1996 I saw it in theatres, and I must admit I didn’t understand it. It wasn’t till I revisited it on television 15 years later that the plot clicked. The cast was excellent, (notably Henry Czerny,) the stunts were fun (an exploding aquarium restaurant) and Tom Cruise was stunning in his black v-neck sweaters. Fast forward 27 years, and 6 movies later, and Cruise is saving the world again as IMF agent Ethan Hunt in Mission Impossible: Dead Reckoning. To be blunt, this movie is okay, but the story has been sacrificed for stunts that don’t measure up to it’s more equally balanced predecessors.
As the Mission Impossible world has evolved so has the calibre of it’s actresses. Notably, Pom Klementieff’s portrayal as Paris serves as the perfect balance of homicidal maniac and vulnerable ingenue. You can’t take your eyes off of her during the car chase scene as she grins and laughs while pursuing Hunt. Watching her performance is reminiscent of Jaws in The Spy Who Loved Me. This platinum blonde immediately commands your attention and holds onto it. Within the constraints of limited dialogue and a one dimensional character, Klementieff is able to invoke a fear that is palpable long after the film has ended.
With each new instalment, the story has had to play catch up as a means of moving the events forward. Dead Reckoning begins with a CGI’d flashback sequence. While Cruise’s Rain Man hairdo (circa 1988) looks excellent, the narrative falls flat. Instead of explaining why this new villain has been haunting Hunt’s memories for decades, the scene is rushed making the victim’s demise trivial. Clearly the setup is to introduce a new bad guy, but without a back story there is no emotional payoff. This apathetic storytelling continues into the Venice party scene as Esai Morales explains the all knowing Entity The casting of Morales is a welcome addition, but is quickly wasted by giving him confusing dialogue to recite and a messy script. It becomes clear that Dead Reckoning is all about the action while muddled exposition is used as a means to pivot from one stunt into the next.
There was a Mission Impossible Dead Reckoning preview on CBS on July 5th. The 30 minute special promised a behind the scenes look at the movie. What struck me during the special was Cruise’s instance that he had been imagining the climactic cliff since he was a child. Instead of being intrigued by that statement I was confused. When exactly did Cruise become Evil Knievel? Cruise has superior acting capabilities without a doubt. Born On The 4th of July, A Few Good Men, Cruise has been giving multi-faceted performances for years. But let’s get real, there is no way he parachuted from a full speed motorcycle cliff dive, least of all 6 times as he stated during the special. The transformation from actor to full blown stuntman came to fruition in Mission Impossible: Ghost Protocol. In that film Cruise’s exceptional physique is clearly on display. While we know that Cruise was fully harnessed on the Burj Khalifa, watching him running along the outside of the building was completely thrilling. When viewing the cliff dive in Dead Reckoning you only see an overhead shot of Cruise. If he really did such an outrageous stunt why did Director Christopher McQuarrie not position cameras and drones from every angle to at least catch a glimpse of Cruise’s face? We are aware that Hollywood magic is at the forefront of every summer blockbuster, but as an avid movie lover I don’t appreciate being treated as a naive, gullible viewer.
With a variety of characters and stylish destinations the Mission Impossible franchise has expanded. While the emphasis has shifted towards nonstop action no particular stunt really sticks in your mind. Consequently, the notable decline in the plot has hurt the integrity of the franchise, even begging the question is the franchise nearing it’s end? Perhaps it’s time to get back to basics and let Cruise’s acting capabilities drive a movie forward instead of an excess amount of outrageous sequences.