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Barbie Movie Reviews: Critics Share Strong First Reactions

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Barbie Movie Reviews: Critics Share Strong First Reactions

Greta Gerwig’s Barbie movie is nearly here, and critics shared their first reactions after the first press screenings.

Featuring a massive cast of A-listers including Margot Robbie as the titular Barbie along with Ryan Gosling, Simu Liu, and plenty more, Barbie looks set to make a huge impression on moviegoers in a summer jam-packed with blockbusters.

Coming in with a somewhat expected PG-13 rating, Barbie will put the iconic Mattel doll into the big-screen spotlight for the first time, putting forth a wild adventure that will show fans how to see their own inner beauty.

Critics React to Barbie Screenings

Warner Bros.

Members of the press shared their first reactions to the upcoming Barbie movie after the film had its world premiere event and its first official screenings.

This comes only a few days after Time Magazine got to release its own write-up for the movie, with the reception being positive as it was called “a fun yet self-aware romp.”

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Variety’s Katcy Stephan praised Barbie as “perfection,” highlighting director Greta Gerwig for bringing “a nuanced commentary” on being a woman while celebrating leading actors Margot Robbie and Ryan Gosling:

“‘Barbie’ is perfection. Greta Gerwig delivers a nuanced commentary on what it means to be a woman in a whimsical, wonderful and laugh-out-loud funny romp. The entire cast shines, especially Margot Robbie and Ryan Gosling in roles they were clearly born to play.”

ComicBook.com’s Jamie Jirak called Barbie her “favorite film of the year,” urging critics and Oscar voters to “give Ryan Gosling an Oscar nomination” for his performance:

“I can’t officially quit Twitter before telling you all that ‘Barbie’ is currently my favorite film of the year. Greta Gerwig somehow exceeded my expectations. She tackles the positives and negatives of Barbie so beautifully. Give Ryan Gosling an Oscar nomination, I’m dead serious!”

Collider’s Perri Nemiroff noted that the “craftsmanship is incredible” in Barbie and praised the film for its “next-level work” on production design, but she felt “a bit more mixed” about the plot and the story:

“I have seen ‘Barbie!’ The craftsmanship is incredible. In particular the costume & production design includes next-level work that heavily contributes to creating the feeling that these truly are Barbies, their dream houses, and their worlds come to life. As for the story, that’s where I’m a bit more mixed. I think the film serves Margot Robbie’s Barbie and her journey especially well, but there are other characters experiencing important arcs that needed more screen time to really dig into and explore to the fullest.”

Rotten Tomatoes critic Carla Renata confirmed that Barbie director Greta Gerwig had her “all in [her] feelings” and pointed out the “dance numbers led by Simu Liu” as some of her favorite moments:

“I saw ‘Barbie The Movie’ and Greta Gerwig left me all in my feelings as did the production design, costumes, Hair and makeup! I was living for the dance numbers led by Simu Liu! It’s overblown fun with a feminist twist”

YouTuber Sharronda Williams called Barbie “witty, heartfelt, and downright fun” while praising Robbie and Gosling, but she also pointed out that the “screenplay feels bloated at times:”

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“‘Barbie The Movie’ is witty, heartfelt, and downright fun at times. Ryan Gosling is a scene stealer delivering most of the laughs while Margot Robbie’s heartfelt performance will tug at your heartstrings. While I enjoyed most of the film the screenplay feels bloated at times teetering between the camp ‘Barbie’ movie we expected to a sometimes too on the nose social commentary of society that takes away from important subplots & character development. The production and costume design is stunning but overall I left wanting a bit more from the film.

Screen Rant’s Joe Deckelmeier noted that Barbie caught him “off guard…in the best possible way,” praising the cast and director while calling the film “funny, bombastic, & very smart:”

“‘Barbie’ caught me off guard & I mean that in the best way possible. It’s funny, bombastic, & very smart. Greta Gerwig aims for the fences & hits a home-run. Margot Robbie’s performance is great & Ryan Gosling & Simu Liu are pure entertainment! The whole cast is brilliant!”

AAFCA’s Ty Cole explained how Barbie “peels the layers off the superficial doll” on which the film was inspired while also putting Ken into the spotlight as he is “figuring his identity out:”

“‘Barbie’ is everything you wouldn’t expect. It peels the layers off the superficial doll we all grew up with while showing how Ken is more than an asset and is figuring his identity out.”

Will Fans React Favorably After Positive Barbie Reviews?

Considering the heartwarming message laid out in Barbie, it’s no surprise that critics are liking the blockbuster.

The big question now is whether fans will have the same positive reactions when the movie debuts to the public, especially with heavy competition coming this month in Mission Impossible 7, Oppenheimer, and Haunted Mansion.

With plenty of moments deemed mature in nature coming in this story, Greta Gerwig and her team appear to have made an adventure that will appeal to all kinds of fans who have seen the Barbie brand evolve over the years.

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And with such a jam-packed journey fitting seamlessly into a fairly-compact runtime of less than two hours, many are itching to see exactly what this Barbie world has in store.

Barbie will debut in theaters worldwide on Friday, July 21.

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Movie Reviews

Barroz Twitter Review: Is Mohanlal’s directorial debut with the fantasy film worth a watch? Check out these 11 tweets to know

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Barroz Twitter Review: Is Mohanlal’s directorial debut with the fantasy film worth a watch? Check out these 11 tweets to know

Mollywood icon, Mohanlal has now ventured into the director’s chair and his directorial debut film Barroz has made its theatrical release today, December 25, 2024. The Malayalam fantasy movie, within hours of release, has gotten some vivid reviews from fans, who have highlighted their opinions on social media.

Well, it seems that Barroz has received mixed opinions from some fans, who have significantly highlighted how the film has not lived up to the expectations considering it being the senior actor’s directorial debut.

Fans have expressed disappointment at the fact that the film’s storyline is weaker, and it is only the specialised use of VFX that has been pulling it all together.

On the other hand, some other fans have appreciated the impeccable acting chops of Mohanlal himself, with special mention to the excellent 3D presentation appealing to mass audiences for more than one reason.

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There have been specific references to a few underwater scenes, which have been touted as an epitome of masterclass cinematic presentation, not to forget how it would not hit as a mass entertainer.

Check out the fans’ reviews about Barroz on Twitter:











Mohanlal has left no stone unturned when it comes to the jam-packed promotional spree for Barroz. The film’s cinematography has been done by the talented Santosh Sivan, while the musical score is handled by Mark Killian.

Coming to the plot of the film, it is said to revolve around the conquest undertaken by Barroz, the guardian of a treasure which has been hidden for over 400 years. This wealth has been trusted to only a true descendant of Da Gama. 

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It is inspired as an adaptation of Jijo Punnoose’s novel Barroz: Guardian of D’Gama’s Treasure. However, the scenes were rewritten by Mohanlal and Thazhathupurakkal Karunakara Panicker, including characters and locations, leading to the exit of the novelist, forfeiting his credits.

Speaking of the cast of Barroz, besides Mohanlal, it stars Maya Rao West, Cesar Lorente Raton, Kallirroi Tziafeta, Daniel Caltagirone, Aadukalam Naren, Tuhin Menon  and others.

ALSO READ: Nayanthara enjoys ‘best holiday’ in Europe with Vignesh Shivan and twins; sunsets, long walks and Eiffel Tower sum up her travel diaries; PICS

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Film Review: The Fire Inside – SLUG Magazine

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Film Review: The Fire Inside – SLUG Magazine

Film

The Fire Inside
Director: Rachel Morrison
Michael De Luca Productions, PASTEL
In Theaters: 12.25

I’m not a fan of combat sports in real life, yet I find that movies about them are nearly irresistible. Whether it’s Rocky, The Karate Kid, Warrior or the upcoming wrestling flick Unstoppable, the underdog who comes out swinging and bests their bigger, more experienced opponent always plays. It’s also nearly always the same movie, and that’s what makes The Fire Inside a knockout.

In this fact–based story, Claressa Shields (Ryan Destiny, A Girl Like Grace, Oracle) is a young woman from Flint, Michigan, who has one skill and one passion: boxing. Despite limited support from her family, Claressa is taken under the wing of Jason Crutchfield (Brian Tyree Henry, If Beale Street Could Talk, Godzilla vs. Kong), a coach at a local gym. As Jason becomes as much a surrogate father as a coach, Claressa trains with a ferocious determination and earns a spot on the 2012 Summer Olympic team —  Claressa “T-Rex” Shields becomes the first American woman to take home the gold in the sport at age 16. From there, Claressa goes from being a poor inner city kid with nothing to … a poor inner city kid with a gold medal overnight.  There are no endorsement deals, no professional career and seemingly no new worlds to conquer. As Claressa fights discouragement, she must find a path to lead her beyond a one time victory into a lasting better life.

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Rachel Morrison, the first woman to be nominated for an Academy Award for her work on Black Panther, makes a strong directorial debut, coming out swinging. She’s ably assisted by a terrific script by Barry Jenkins (Moonlight). The Fire Inside transcends the tropes of the genre by reaching the rush of climactic fight and then daring not to end there, instead delving into the reality that in Shields’  life, one triumph in the sports world doesn’t change your circumstances, especially for an uncouth young woman with no interest in playing the public relations game and selling a softer, more traditionally feminine image. We’ve heard the cliche “this isn’t just a movie about sports, it’s about life,” but such a candid look at a life-changing moment that does nothing to change your life, and learning how to face this, was something refreshingly new and honest. The often bleak and at times stunningly beautiful cinematography by Rina Yang, along with the stirring score by Tamar-kali, lift the sensory experience and go a long way to making this one a winner. 

Destiny shows potential as a breakout star, commanding the screen as effortlessly as Claressa commands the ring. Henry is the highlight of any film he’s in, and The Fire Inside is no exception, with his grounded performance keeping the film moving along and setting the tone for a story about learning that you can still lean on others while you’re believing in yourself. The sizzling chemistry between these two actors drives a poignant and entertaining story to a satisfying and believable conclusion that’s not the one you’re expecting.

The Fire Inside is a breath of fresh air in a genre that far too often settles for stale and dank. It provides enough inspirational warmth to fulfill its duties as an uplifting sports movie, but its got the stamina and the drive to go a few extra rounds and push its own limits. Unlike most boxing films, this champ doesn’t pull any punches. –Patrick Gibbs

Read more film reviews here:
Film Review: A Complete Unknown
Film Review: Babygirl 

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Movie review: Reverence to source material drains life from ‘Nosferatu’

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Movie review: Reverence to source material drains life from ‘Nosferatu’

Passion projects are often lauded simply for their passion, for the sheer effort that it took to bring a dream to life. Sometimes, that celebration of energy expended can obfuscate the artistic merits of a film, as the blinkered vision of a dedicated auteur can be a film’s saving grace, or its death knell. This is one of the hazards of the passion project, which is satirically explored in the 2000 film “Shadow of the Vampire,” a fictionalized depiction of the making of F.W. Murnau’s 1922 silent horror film “Nosferatu: A Symphony of Horror,” in which John Malkovich plays the filmmaker obsessed with “authentic” horror.

This meta approach is a clever twist on the iconic early horror movie that looms large in our cultural memory. Inspired by Bram Stoker’s 1897 novel “Dracula” (with names and details changed in order to skirt the lack of rights to the book), “Nosferatu” is a landmark example of German Expressionism, and Max Schreck’s performance as the vampire is one of the genre’s unforgettable villains.

“Nosferatu” has inspired many filmmakers over a century — Werner Herzog made his own bleak and lonely version with Klaus Kinski in 1979; Francis Ford Coppola went directly to the source material for his lushly Gothic “Bram Stoker’s Dracula” in 1992. Now, Robert Eggers, who gained auteur status with his colonial horror film “The Witch,” the Edgar Allen Poe-inspired two-hander “The Lighthouse,” and a Viking epic “The Northman,” delivers his ultimate passion project: a direct remake of Murnau’s film.

His first non-original screenplay, Eggers’ version isn’t a “take” on “Nosferatu,” so much as it is an overly faithful retelling, so indebted to its inspiration that it’s utterly hamstrung by its own reverence. If “Shadow of the Vampire” is a playful spin, Eggers’ “Nosferatu” is an utterly straight-faced and interminably dull retread of the 1922 film. It’s the exact same movie, just with more explicit violence and sex. And while Eggers loves to pay tribute to the style and form of cinema history in his work, the sexual politics of his “Nosferatu” feel at least 100 years old.

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“Nosferatu” is a story about real estate and sexual obsession. A young newlywed, Thomas Hutter (Nicholas Hoult) is dispatched from his small German city to the Carpathian Mountains in order to execute the paperwork on the purchase of a rundown manor for a mysterious Count Orlok (an unrecognizable Bill Skarsgård), a tall, pale wraith with a rumbling voice that sounds like a beehive.

Thomas has a generally bad time with the terrifying Count Orlok, while his young bride at home, the seemingly clairvoyant Ellen (Lily-Rose Depp) is taken with terrifying nightmares and bouts of sleepwalking, consumed by psychic messages from the Count, who has become obsessed with her. He makes his way to his new home in a rat-infested ship, unleashing a plague; Ellen weighs whether she should sacrifice herself to the Count in order to save the town, which consists of essentially three men: her husband, a doctor (Ralph Ineson) and an occultist scientist (Willem Dafoe).

There’s a moment in the first hour of “Nosferatu” where it seems like Eggers’ film is going to be something new, imbued with anthropological folklore, rather than the expressionist interpretation of Murnau. Thomas arrives in a Romanian village, where he encounters a group of jolly gypsies who laugh at him, warn him, and whose blood rituals he encounters in the night. It’s fascinating, fresh, culturally specific, and a new entry point to this familiar tale. Orlok’s mustachioed visage could be seen as a nod to the real Vlad the Impaler, who likely inspired Stoker.

But Eggers abandons this tack and steers back toward leaden homage. The film is a feat of maximalist and moody production design and cinematography, but the tedious and overwrought script renders every character two-dimensional, despite the effortful acting, teary pronunciations and emphatically delivered declarations.

Depp whimpers and writhes with aplomb, but her enthusiastically physical performance never reaches her eyes — unless they’re rolling into the back of her head. Regardless of their energetic ministrations, she and Hoult are unconvincing. Dafoe, as well as Aaron Taylor-Johnson and Emma Corrin, as family friends who take in Ellen, bring a winking campiness, breathing life into the proceedings, while Simon McBurney devilishly goes for broke as the Count’s familiar. However, every actor seems to be in a different movie.

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Despite the sex, nudity and declarations of desire, there’s no eroticism or sensuality; despite the blood and guts, there’s nothing scary about it either. This film is a whole lot of style in search of a better story, and without any metaphor or subtext, it’s a bore. Despite his passion for the project, or perhaps because of it, Eggers’ overwrought “Nosferatu” is dead on arrival, drained of all life and choked to death on its own worship.

‘Nosferatu’

GRADE: C

Rated R: for bloody violent content, graphic nudity and some sexual content

Running time: 135 minutes

In theaters Dec. 25

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