Ryan Gosling as Ken in ‘Barbie’ – Photo courtesy Warner Bros.
The Barbie movie has taken the box office by storm, becoming an instant hit with audiences worldwide.
The colorful and vibrant film, led by Margot Robbie as the titular Barbie and Ryan Gosling as her Ken, raked in a staggering $162 million in ticket sales during its first weekend.
That’s enough for the production to earn back its production budget (though not when including what was apparently a huge marketing spend).
For those who have yet to experience the magic of Barbie on the big screen, beware of spoilers ahead!
The movie features not just one Barbie and one Ken but an ensemble of Barbies and Kens, each representing a different version of the doll once made available for kids. In addition to the stocked cast, there were initially even more well-known names expected to grace the film, adding to its star-studded ensemble.
Director and co-writer Greta Gerwig and casting director Allison Jones have been actively promoting the film and sharing fascinating behind-the-scenes insights.
They revealed several prominent actors were approached to portray Kens but couldn’t ultimately join the cast. Among them were three highly talented individuals – Bowen Yang, Dan Levy, and Ben Platt, all of whom would have been great in the role.
Unfortunately, due to various constraints, including Covid-related restrictions at the time of filming and other commitments, Yang, Levy, and Platt were unable to make appearances in Barbie.
Despite this, the film boasts an impressive roster of nearly 10 Kens, portrayed by equally gifted actors such as Simu Liu, Kingsley Ben-Adir, Scott Evans, Ncuti Gatwa, and John Cena.
Each actor brought their own unique style and charisma to their version of Ken, making them similar to one another, but also noticeably different.
Jonathan Groff was reportedly offered the role of Allan, an essential character in the Barbie universe. However, the part ultimately went to the equally talented Michael Cera, who brought his trademark quirky aloofness to the character.
One storm-tossed ship, three intrepid divers, and the deep blue sea are practically the whole show in Last Breath, a spare but riveting disaster drama about the frantic effort to rescue a diver stranded at the bottom of the North Sea.
Woody Harrelson, Simu Liu, and Peaky Blinders breakout Finn Cole are saturation divers Duncan, Dave, and Chris, tasked with repairing trans-ocean oil pipelines on the sea floor. Along with several other three-man crews, they work off of the dive support vessel Tharos, which, on this mission, has to sail into a storm.
The ship's captain Jenson, portrayed with steely resolve and just a hint of nerves by Cliff Curtis, is fairly new to this operation, where just about everyone else on board has history. Self-described relic Duncan, a 20-year vet on his last dive, has been a mentor to bright-eyed Chris, who's being called into this dangerous deep-sea operation for the first time.
At what point does a concept become a movie? I don't mean in the literal sense -- "when it has a director and a cast and a production budget" -- but on a more abstract, mysterious level.
Anyone can come up with a neat movie pitch: What if a shark attacked people in a resort town? What if a kid could see dead people? But there's an ineffable quality that a filmmaker must summon to make a concept actually pop on the screen, with characters and visuals and ideas working in tandem to transport the viewer somewhere else.
This question occurred to me while watching Love Me, which resembles a cute concept in search of a movie. Imaginative and tedious in equal measure, the sci-fi romance unfolds over a span of billions of years yet feels puzzlingly small -- like a 20-minute short stretched to fill a 92-minute runtime.
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