demi adejuyigbe’s review published on Letterboxd:
i cannot believe greta pulled off this visually gorgeous, strangely complex, big-budget JOSIE AND THE PUSSYCATS-core John Waters-inspired existential postmodernist comedy that is wrapped around a 64-year old piece of IP and still manages to intricately wrestle with its own history. it’s so good and so obviously a slam dunk but… it’s so stylistically and narratively out there for a modern blockbuster that i was in awe that i even got to watch it the whole time. like, call me a sucker for thinking it’s bold and i know they’ve already said they had to fight for a lot of this, but if you told me mattel saw it for the first time in the theater with me, i’d kinda believe you. and moreso than any other recent multi-genre comedy of its same budget class, it genuinely feels like it’s simply an unhyphenated capital C Comedy!
the worst i can say about it is that i’m too online for some of the jokes to slam dunk, but even those work on occasion solely because of her execution. and even then, for every moment my brain filled with the imaginary applause of an embarrassing, hypothetical neolib audience (i have brain rot) i get two matching moments of ryan gosling showing us all why he’s s fucking star. and then the ending… good lord. i feel sad thinking about someone watching this at home and giving up because they think all it’s got to offer is “men be like” gags and feminist commentary. such a wild swing to wrap up something so relentlessly silly by turning into a gender-agnostic treatise on legacy, consciousness, and self-identity. and what a joy to see rhea perlman! i did not know she was gonna be in it :) if this came out later in the year, she’d be a lock for the Judd Hirsch In The Fabelmans Honorary Oscar Nomination For A Legendary Older Actor’s Minor Role.
feels like this is the best 90s comedy since 1999. fascinated to see how it’s received by both children and parents of children. like…. what are YOU taking away from it, kid