“Barbie” is a lovely, eccentrically imaginative example of brand extension and raw, untrammeled commercialism. Well, maybe a little trammeled, writes critic Michael Phillips. And yet this one actually feels spontaneous, and fun.
— has its merry, thoughtful way with everything Mattel’s implacable smiler in high heels has meant, pro or con, to millions. The toy company, working with everyone’s favorite new conglomerate Warner Bros. Discovery, could have played things far more safely with their cinematic spin on the doll introduced in 1959.
One day, something glitches for Barbie ; a fleeting thought of mortality crosses her mind during a dance party, and a sliver of uncertainty enters her consciousness. Up until then, the Barbies of Barbie Land have assumed that in the real world, life for their human “owners” is as serene and confidence-instilling as it is in their own neighborhood.
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