FILM: Barbie

The Barbie film opens with a 2001: A Space Odyssey parody to explain the origins and impact of Barbie on the world, with Helen Mirren narrating in most serious BBC voice. At the outset, director Greta Gerwig has her tongue planted so far in her cheek that it actually curls around and tickles the brain a little. Barbie the brand encompasses a multitude of contradictions, with the stereotypical Barbie, impossibly thin with pink shoes and stylish wardrobe, also trying to inspire girls through the years by modeling being a doctor, a pilot, and an astronaut, while still always embracing her core pink perfection. The film leans into these contradictions, with a hilarious vision of life in “Barbieland”, where women (mostly named Barbie) live in wall-less and staircase-less dream houses and rule the world, and men (mostly named Ken) exist just to hang out at the beach in hopes that a Barbie might pay attention to them. Every day is perfect and pink in Barbieland until a rupture in the separation between Barbieland and the real world threatens to change everything, and Barbie must go into the real world to fix it. The film is a delightfully playful and visual confection with lots of winks and nods to the long history of the Barbie brand (embracing its less successful as well as more successful spin-offs), but the confection wraps a core of feminist critique that raises weighty questions about gender-based role models and the “male gaze”. Happily, the philosophical underpinnings aren’t so heavy as to lose track of telling a fun story and keeping us smiling and laughing, even while this Barbie forges new ground in providing a new role model for 21st century girls.

FILM: Indiana Jones and the Dial of Destiny

Indiana Jones and the Dial of Destiny is a rollicking E-ticket ride from beginning to end, and a marvelous way to send off the beloved but aged professor-adventurer. Bravo to the now 80-year old Harrison Ford who can totally still bring it. The film opens with immediate high adrenaline at the close of WWII, when a 45-year old Indiana Jones and an Oxford archaeology colleague are trying to keep some invaluable ancient artefacts out of the hands of the Nazis. There was some amazing AI-driven CGI de-aging, but that’s the actual Harrison Ford doing all that running and fighting in and on a moving train. Then we flash forward to “present day” 1969, when the 70-year old Professor Jones is nearing retirement, a curmudgeonly old man in highest “get off my lawn” dudgeon, beating on his young neighbor’s door when the music is too loud. But just when he’s despairing of getting this new generation of students to care about anything, it turns out that there are still a few remaining Nazis with some diabolical plans concerning ancient artefacts with supernatural power. And just like that, as fast as you can crack a whip, the aging Indiana finds a new reason to race across Morocco, Greece, and Italy, solving ancient mysteries and unlocking secrets, with Nazis (and possibly the CIA) in hot pursuit. The film shifts into high gear and never lets up, with high speed chases, and lots of winks and nods to previous films. The other moving part in this engrossing contraption is the appearance of Phoebe Waller-Bridge as Helena “Wombat” Shaw, Indy’s long-neglected goddaughter. She might be the perfect partner for this latest last adventure. Or is she? “How did you turn out this way?” Indy asks her at one point. “You mean strong, confident, beautiful, and exceptionally capable?” she retorts. Indeed, she is all that, and if she turns up in more movies, I’m in. At risk of spoilers, I’ll say no more except to say that the ending is pure gold. And also, speaking of active octo+genarians, bravo to John Williams who at age 91 has turned out yet another marvelous score, fanning the familiar themes and introducing new ones. If you have any nostalgia for Indiana Jones, or just if you enjoy a good action-adventure film, don’t miss it!