Any time a movie prioritizes messaging, there's an all too long history of the end result suffering, whether in terms of its storytelling, its general craftsmanship, or both. Broadly, this trend holds true even when a message is important, admirable, and agreeable. Case in point, last year's slasher 'They/them' was troubled in various ways, but above all in how immensely upfront it was about its otherwise gratifying messaging; sure enough, the writing suffered in turn. This 2023 film is not free of that same issue, for it is extremely, emphatically forthright and downright strident about the ideas at the root of the screenplay and which it wishes to convey; they're terrific ideas, but literally from the very beginning we see and hear exactly, indisputably, what the script wants to communicate. More than that, this is a picture that strives to be, say, and do a lot, and in fact it is, says, and does so much that it's a little overwhelming - I earnestly think the finished product would have benefited from some thoughts being left out so as to tighten the whole and assert greater focus. And though I somewhat repeat myself, it's well worth accentuating that the feature is majorly heavy-handed, with astonishingly little of the content being given a delicate, nuanced touch for the viewer to pick up on or feel for ourselves. It's a title that wears its neon pink heart on its sleeve, and there's no possibility of missing it.

And yet what's truly amazing is that for all this, 'Barbie' is also a movie that is incredibly, exceptionally smart. I can't readily think of any other title that was so predominantly blunt, gawky, and straightforward in its presentation, but which simultaneously impressed with the absolute supreme intelligence behind everything that's being shoved in our faces. Within the slant of being overfull and immoderate, it's nevertheless remarkably well-rounded and balanced. Everything it endeavors to be, say, and do is treated with that same frank hand, and all is blended together into a slurry where no facet is allowed to especially outshine the others. It bounces from trenchantly triumphant to awesomely artificial, to wildly wacky, to dourly dispiriting, to honestly heartfelt, to satisfyingly sincere, and back again, but the progression still feels natural and meaningful, not to mention purposeful, and we never experience whiplash. It is entirely unabashed about the values it wields like a flaming sword of vengeance, and the themes that serve as its very blood: feminism, independence, denunciation of patriarchy and toxic masculinity; self-discovery and self-realization outside any strict confines or definitions that are forced upon or underhandedly given to us, or which we unwittingly construct for ourselves; the need to be active agents of our own liberation, active defenders of what we wish to build, and active stewards of what we wish to maintain - and much, much more. Then, too, it plainly champions diversity even in just the casting, but ultimately acknowledges the advisable place and just importance of diversity, and equality, in governance and representation; touches upon the evils of capitalism, and also the multifaceted elements of what Mattel's signature doll represents, for good and for ill; recognizes that women, who can and should be anything they want, can be and may want to be mothers, too. It's not inaccurate to say that 'Barbie' acts to upholds what are commonly seen as leftist or humanist ideals, yet those who decry the feature as part of some subversive agenda either haven't actually seen it, or can't discern the immediately transparent notion that values that seek a better, more equitable world for everyone can only be said to be dangerous insofar as they threaten those values that work to sustain inequality and injustice.

Meanwhile, setting aside the writing which is so enormously essential to all that this is, the film is stupendously well done in every other regard. The cast is a blast, simply put, obviously all having a fantastic time - but for as weird and widely varied as the parts and scenes may be, everyone also gives excellent performances no less worthy of appreciation than anything else that any of them have done. It rather goes without saying that Margot Robbie is altogether luminous as the stereotypical protagonist, but I personally am also very happy to see Hari Nef here so prominently, and Kate McKinnon is an outright joy. The crew put in magnificent work in every last regard, from spellbinding, colorful sets, to bewitching costume design, to impeccable hair and makeup, and more. Editing, cinematography, direction, sound, stunts, effects: I do not jest when I say that everything here looks fabulous. The music is a wonderfully fun garnish that I in no way anticipated, and all who contributed to the soundtrack in any way are to be congratulated; those instances of choreography that we see are utterly superb, providing a level of glee that I'd have never supposed even based on advance marketing. And as if all the huge, concrete ideas behind the screenplay weren't enough, the story in and of itself is genuinely entertaining and compelling, let alone highly rewarding. The scene writing is marvelously strong, rich, and varied, keeping the proceedings fresh and engaging from start to finish; the dialogue and characters are as shrewdly penned as anything else in these two hours. What here is not brilliant, when all is said and done? Well, I gave my answer when I first sat down, but even if it's not flawless, the imperfections here are less about any discrete weaknesses or shortcomings and more about how stunningly busy the script is, stuffed to the proverbial gills and nearly straining to keep itself together even in the face of so much skill and wit. And if that's the worst that I can say about a picture, then I'd say it's done darn well for itself indeed.

The promise of a star-studded cast, filled with persons I admire, and the involvement of an esteemed filmmaker and her partner, did nothing to quell skepticism when news first surfaced of a live-action Barbie movie on the big screen. The first teaser and subsequent trailer elicited much favor, but still I had my reservations, wondering above all how the same dazzling energy could possibly be sustained for a full-length feature. Then, to be frank, there came the swift, abrasive reactions from certain people - reactions that were laughably alarmist and apoplectic, not to mention outlandish and unreasonable. Suffice to say that such breath-taking reactions were the tipping point for me, as they elevated Greta Gerwig's 'Barbie,' from "a film I might like to check out if I have the chance," to a must-see. And now that I have? While all my doubts have been erased and I could hardly be more pleased, I can also safely say that this is not the movie I was expecting. That riotous energy of the teaser and trailer isn't here for the whole runtime (though, most of it, certainly). What we get as complement and in its place, though, is masterful mindfulness and craftsmanship, and a jarring, somewhat backhanded, but very welcome and refreshing, wholehearted sincerity that is all the more smarter for the ways in which, sights unseen, it's kept hidden. Ironically, I ponder if this isn't too lofty in its writing, possibly going over the heads of those who might benefit most from what it has to offer. Even if that's true, though, this is so splendidly well done that it will hold up indefinitely, and be something to revisit time and again, both for those who want to see what we may have missed before, and to ensure that its message reaches the widest possible audience. When I was younger I'd never have thought a Barbie flick could be this good and substantive, but here we are: Gerwig's picture is well worth watching, and earns my very high, hearty recommendation.