For those who celebrate the doll or want it tossed into an incinerator, go ahead: Barbie can do it all.

Welcome to Barbie Land, established 1959. It’s the best day every day — just like yesterday was and tomorrow will be — in a world where every Barbie doll and accessory exists, even the ones that were discontinued. Stereotypical Barbie (Margot Robbie) begins to notice things aren’t quite as perfect as they usually are, but why does it come with thoughts about dying? Stereotypical Ken (Ryan Gosling) would do anything for his Barbie — especially for any chance his eternal devotion to her was reciprocated — including joining her on a quest suggested by Weird Barbie (Kate McKinnon) to quell such dire thoughts. What Barbie and Ken discover in the real world will change their lives forever — along with everything else in Barbie Land — while the boardroom of toy maker Mattel sweat the details… along with the entire movie.

Mattel once refused Barbie’s inclusion in Toy Story, relenting for sequels after its success at Pixar, while Diablo Cody spent six years unable to write a workable script for an Amy Schumer vehicle. Enter director Greta Gerwig co-writing a treatment with Noah Baumbach for star and producer Margot Robbie, who reportedly compared it with Jurassic Park’s billion-dollar success to get funding. Fueled by reports of going practical, causing a global shortage of pink paint, and the now-infamous “Barbenheimer” memes, Barbie was positioned for superstardom. Standing in the production’s path were accusations of being a two-hour toy commercial, Robbie’s recent failures to turn previous starring films into big box office receipts, and Christopher Nolan’s biopic Oppenheimer releasing on the same weekend. With advertisements boasting the movie being for anyone who loves or hates Barbie, the only question more important than audience turn out is, how much will Mattel let Gerwig and Robbie get away with?

This film should not exist, period. The final cut is a paradox of ideas: superficial yet smart, caustic yet clever, and showcasing not just the very best but even the worst of all things Barbie. No stone is left unturned and no doll is left behind, with heartbreaking realizations and stark social commentary perfectly packaged for the movie-loving consumer (who may not expect this level of infotainment). While the film has detractors accusing it of specific agendas, kudos to Mattel for signing off on poking fun of itself, the toy industry, and a willingness to admit “mistakes were made.” From a prehistoric era where only baby dolls existed to give future moms practice being a mommy, Barbie was an adult woman with fashion sense, career goals, and things owned exclusively by and for her. Over sixty years later, Barbie still has the ability to become whatever girls need her to be… which sounds eerily like Christopher Nolan’s Batman talking about Gotham City.

From the first teaser trailer, Robbie embodies Barbie as if born to play the part, but that isn’t the only genius in casting. Ryan Gosling goes all in, playing up Ken’s limited yet devoted world view and every nuance, challenging even McKinnon’s Weird Barbie as a serial upstager. Everyone in the cast contributes in their unique way, but America Ferrera was given the plum role and showstopping monologue about the impossible standards inflicted upon women. Coupled with the character assassination perpetrated by on-screen ‘tween daughter (played by Ariana Greenblatt), it’s the making of a perfect storm for a Barbie who never thought beyond living in her best moment. Fortunately, with perspective and experience comes the opportunity to change, even if you never wanted to, and neither Gerwig nor Robbie leave viewers hanging.

Will Farrell’s character may seem like a red herring — wasn’t he in those Lego movies? — and some movie goers might sense something of a bait-and-switch plot. Both may be exactly true, but a great story more often provides an audience with what it needs more than what it wants. No one explicitly told girls “you have to look like this doll” any more than becoming a five-foot-twelve supermodel who wears a size-zero dress, but when that’s what everyone sees, the illusion becomes an ideal. You know, like viewers who assume all actors showing up at awards ceremonies — wearing borrowed jewels and lended high-fashion clothing — must all be millionaires.

Barbie is rated PG-13 for suggestive references, brief language, and nobody beaching anyone off.

Three skull recommendation out of four

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