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#226 Favorite Film, 2023 Films, America Ferrera, Colin Firth, Comedy, Emerald Fennell, Fantasy, Favorite Film of the Year, Greta Gerwig, Issa Rae, John Cena, Kate McKinnon, Lucy Boynton, Margot Robbie, Marisa Abela, Michael Cera, Noah Baumbach, Rhea Perlman, Ryan Gosling, Satire, Top 250 Films, Will Ferrell

Barbie-2023

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Barbie-2023

Director Greta Gerwig

Starring Margot Robbie, Ryan Gosling, and America Ferrera

Top 250 Films #226

Scott’s Review #1,381

Reviewed July 23, 2023

Grade: A

Greta Gerwig is a tremendously talented director who is influencing Hollywood films. The gifted woman crafted Lady Bird in 2017 to critical acclaim and forged ahead with another feminist and progressive project.

In Barbie (2023), she takes a traditional and iconic ‘Barbie doll’ product by Mattel and explores the positives and negatives of the doll throughout its existence.

An incredible opening sequence harkening to Stanley Kubrick’s 1968 masterpiece 2001: A Space Odyssey explains the evolution of the doll.

Barbie incorporates gender balance, creativity, thought, satire, and slapstick comedy fraught with meaning. Not forgotten is heart and humanity, and a look at how much progress has been achieved for women over the years, and how much more is still needed.

As if that’s not enough, Barbie deserves praise for its direction, production design, costumes, music, and cast performances.

Well done.

The film stars Margot Robbie as Barbie and Ryan Gosling as Ken, who embark on a journey of self-discovery after Barbie faces an existential crisis. Deemed the ‘stereotypical’ Barbie, she begins having peculiar and ‘un-Barbie’ thoughts of death and analytics, and must return to the real world to find her doll’s owner.

She soon longs to return to Barbie Land, which is a perfect place. Unless you’re a Ken who exists merely to pine after Barbie, but do they secretly resent this?

There are numerous positives to explore regarding Barbie, but one slight drawback is its proximity to silly comedy and goofiness. The meaning of the film mostly offsets this, but I fear that some audiences may be overwhelmed by gag jokes and lose the overall point of the story.

Let’s take a deep dive. The production design and art direction are dazzling and immediately noticeable. Particularly, I’m referring to Barbie Land and its pink and pretty sets. Luxurious pools, streets, houses, and cars are rich with color and ooze a fun vibe.

I can’t imagine these teams being overlooked during the year-end awards season.

Robbie and Gosling, looking blonde, buff, and tanned, are wonderfully cast and not only look the part but quickly switch from physical comedy to heavy drama without looking foolish.

Robbie, for example, while the classic Barbie type has layers of emotion that she channels. And Gosling could have looked like a buffoon with over-the-top sequences if not for a startlingly good dramatic scene towards the film’s climax.

The supporting cast is brilliant and includes Kate McKinnon as ‘weird Barbie,’ a perfect role for her to unleash her comedic prowess. How lovely to see Rhea Perlman again in the small but powerful role of Ruth Handler, co-founder of Mattel and creator of the Barbie doll.

Finally, America Ferrera and Will Ferrell add both comedy and meaningful spirit to their roles. And how could the inclusion of British stalwart Helen Mirren as the narrator not create credibility?

The main attraction, though, is the writing. Isn’t it always the case when it’s done intelligently?

The dynamic duo of Gerwig and Noah Baumbach (famous for, among other works, the 2019 film Marriage Story) pair well, giving equality messages to both Barbie and Ken. While it is easy to dismiss Ken, his role is valued and respected within the overall context of showing that everyone deserves a seat at the table.

I was touched by the film in various moments more than I ever expected. Wonderful sentiments about being a mother are powerfully stated by Ruth and Gloria (Ferrera) during various scenes and messages, such as everyone deserves respect and serving a purpose, which are hard not to get choked up over.

Barbie wins points for diversity and inclusion with nearly every ethnic group represented and a transgender character, Dr. Barbie (Hari Nef), featured prominently.

Providing roaring entertainment, bubble gum sets and design, and a message that will break your heart while exuding intelligence, Barbie (2023) is a win.

It’s a story about the wills of plastic and humanity, making for a perfect, harmonious blend. Who would have thought a film about Barbie would be so important?

Oscar Nominations: 1 win-Best Picture, Best Supporting Actor-Ryan Gosling, Best Supporting Actress-America Ferrera, Best Adapted Screenplay, Best Costume Design, Best Production Design, Best Original Song-“I’m Just Ken”, “What Was I Made For?” (won)

2019 Films, Brad Garrett, Comedy, Drama, Holland Taylor, Independent, Independent Comedy, Independent Drama, John Turturro, Julianne Moore, Michael Cera, Pablo Larraín, Rita Wilson, Sean Astin, Sebastián Lelio

Gloria Bell-2019

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Gloria Bell-2019

Director Sebastian Lelio

Starring Julianne Moore, John Turturro

Scott’s Review #924

Reviewed July 29, 2019

Grade: B+

An English remake of the successful 2013 Chilean film, titled Gloria, Gloria Bell (2019) stars Julianne Moore, and the setting is relocated to Los Angeles.

The film is directed by Sebastian Lelio, fresh off a Best Foreign Language Film win for A Fantastic Woman (2017), and both movies contain similar themes of oppression and loneliness.

Preferring the original by only a hair, Gloria Bell is nonetheless a worthy offering with Moore perfectly cast in the title role.

Middle-aged divorcee Gloria Bell (Moore) resides in Los Angeles, working an office job of some respectability, but is unfulfilled. She spends many nights at a nightclub, where she is considered a regular.

The club caters to middle-aged singles who dance and drink while looking for love. When she meets Arnold (John Turturro) one evening and they share a night of passion, the pair begin dating.

However, Gloria realizes that he still supports his ex-wife and grown daughters, which limits his time and commitment to her, leaving her frustrated.

Moore is honest and understated in her performance, and the highlight of the film.

With another casting choice, the character might not have worked so well. She is full of life, singing in her car, attending laughter therapy, and smoking pot in her apartment. She has a warm yet limited relationship with her millennial kids and her ex-husband and his new wife.

Moore gives the character an earnestness and likability that work and get the audience on her side during her trials and tribulations.

This is not to say that Gloria doesn’t occasionally frustrate the audience.

After inviting Arnold to meet the whole crew over dinner and wine at her son’s house, what begins as a meet-and-greet quickly turns into a reminiscing trip down memory lane and whimsical looks at Gloria and her ex’s wedding pictures.

Her disregard for Arnold’s feelings is disappointing, but there is no bad intention behind it.

Gloria has baggage and is caught up in the moment, simply reliving a happier time at the expense of the current moment.

Arnold has his demons and is both likable and unlikable to the audience. Tending to bail on Gloria when either his family requires his assistance or he feels left out, he hardly exhibits grown man behavior or anyone Gloria would want to date.

The first red flag is his confession of being enamored of Gloria over their first dinner date. From there, his on-again-off-again presence makes him the odd man out. Lelio intends to make Gloria the sympathetic one. It’s her movie after all.

Watching A Fantastic Woman sequentially is a wise idea. Numerous comparisons are apparent, beginning with the feelings shared by both central characters.

Both are searching for happiness, but are unsure of how to attain it, especially given that they once had it and it was taken away from them.

Scenes of both characters driving in their cars and singing songs are included, and the look of both films is the same.

Very few comparisons or contrasts can be made between Gloria of 2013 and Gloria Bell of 2019, as both are above average, except that the character is slightly more vivacious in the former than in the latter.

This could be attributed to the Chilean and South American free-thinking and sexual openness compared to the more reserved American way of thinking, but this is merely a suggestion.

It is interesting to note how Lelio remade his film only six years later, rather than another director putting their stamp on it.

Gloria Bell (2019) paints a vivid portrait of a modern woman dealt a bad hand who struggles to find happiness and fulfillment in any way she knows how.

Thanks in large part to Moore’s portrayal and filling the character with kindness and care, she wins over the audience. The character is written as intelligent and interesting, and not desperate in any way for a man; he needs to be the right man.