Barbie.

Barbie had already crossed the billion-dollar mark before I got to see it on Saturday, on top of weeks of positive reviews, hype, and discourse, which combined to both set a very high bar in terms of expectations while also likely predisposing me towards the movie a little bit because everyone seemed to like it – especially film critics and fans I know and respect. So bear all of that in mind when I tell you I pretty much loved this movie from start to superb-last-line finish.

Greta Gerwig and Noah Baumbach’s script takes existing IP but does something wildly ambitious with it, turning a kids’ doll with very little lore or mythology other than the series of toys in the line’s history into a wide-ranging social commentary and satire on patriarchy, feminism, toxic masculinity, and consumerism, among other things. It’s also a visual feast, at least when the movie is in Barbie’s world, and packed with allusions, references, and entendres that appear to be double. (I was most partial to the Zack Snyder reference, although the Proust and Stephen Malkmus ones were close.) Aside from a slight slowing near the end of the film as the script grapples with how best to get the main characters to the finish line, it maintained its pace with quick wit and snappy dialogue that never talked down to the adults in the audience and provided plenty to keep the kids interested as well.

Barbie starts out with its titular character (Margot Robbie) in Barbieland, driving her tiny car, saying hi to all of the other Barbies, while an obnoxiously catchy song (“Pink”) by Lizzo plays. We also meet several Kens, including Beach Ken (Ryan Gosling), and discover that in Barbieland, girls run everything, and the guys are just various flavors of eye candy, competing for the Barbies’ attention. Beach Ken is obviously in love with Robbie’s Barbie, who we find out later is Stereotypical Barbie, but she doesn’t really need him – he needs her far more. Everything is perfect, every day, in every way, until Barbie is plagued by a sudden existential dread and things suddenly aren’t so perfect any more, which leads to the actual plot of the story, where she ends up going to the Real World to find the kid who’s playing with her and putting all of these thoughts and problems into Barbieland. This leads to a rather rude awakening for Barbie; a massive epiphany for Ken, who sneaks into her car as she’s leaving Barbieland and then discovers the glories of patriarchy; and a problem for the executives at Mattel, who would really rather not have a repeat of the time Skipper showed up in Key West.

I cannot praise this script enough; other than the set design, it’s the strongest part of a very strong movie. Gerwig and Baumbach had to satisfy so many stakeholders and, I presume, mandates: make it funny, make it smart, make it appeal to kids and adults, make it look great, make it authentic to the limited source material, don’t denigrate the doll or the line or its history, and so on. It is often laugh-out-loud funny, with Gosling actually delivering many of the better lines, and when it’s not, it’s mining humor from satire, or just from wry observations.

The pace is also superb, as we’re barely into the movie, with about ten minutes of worldbuilding in Barbieland, before Barbie utters the out-of-character line that kicks the plot in motion. So many movies, whether prestige films or films built off outside IP, are 150 minutes or more; Barbie didn’t need to be, and it isn’t, coming in at about 114 including the credits. The result is a movie that’s packed without feeling dense, and that only slackens a little towards the end as the movie has to focus entirely on resolving the main storyline.

Gosling does kind of steal Robbie’s thunder, though, which is a little ironic for a movie that’s not just about her character but about feminism and the absurdity of patriarchy. He’s just so good as Himbo Ken – well, it seems like all of the Kens are himbos, but he’s especially dim – and the script provides him with more chances to flex. Barbie is dismayed and annoyed in the real world, but Ken thinks it’s the best thing he’s ever seen, and his reactions to little things like someone asking him for the time are priceless. The remainder of the cast is probably more impressive on paper than in the movie because there’s barely enough for anyone else to do. About half of the cast of the Netflix series Sex Education is in this movie, including Emma Mackey (Physicist Barbie), who is the best actor on that series and seems destined for superstardom, and Ncuti Gatwa (Artist Ken), who’s taking over as the Doctor in the next season of Doctor Who. Both stand out when they’re on screen here, but neither gets much definition. Simu Liu is very, very funny as Tourist Ken, Beach Ken’s main rival, playing an obnoxious dudebro version of the character, although it’s also a pretty two-dimensional role. Michael Cera might have the best supporting performance here as Allan, Ken’s best friend, whom Cera plays as every character Michael Cera has ever played on TV or in film – and it’s hilarious. If it’s not him, it’s Rhea Perlman, who is also quite wonderful but in a character that gives the film its most saccharine moments. Bonus points if you spot Lucy Boynton’s cameo; I missed it until the credits, and jumped when I saw the Sing Street actress’s name – and that of her character, which completes a great joke from within the movie.

Given the critical acclaim and commercial performance, Barbie seems likely to earn a slew of awards nominations this cycle … and win very few of them. It might be the best lock for any set or production design awards, followed by costume design, but this could be the sort of movie that has to be happy with the honor of being nominated. The dark horse category here would be the screenplay, where Gerwig – who I really, really hope gets a director nomination now after she was snubbed for Lady Bird and especially for Little Women – and Baumbach get points both for technical merit and artistic integrity. They chose a high level of difficulty and still succeeded, while also slipping in plenty of inside-Hollywood jokes to please that crowd. I’ll go on a limb and predict it gets eight Oscar nods: Picture, Director, Song, Original Screenplay, Production Design, Film Editing, Makeup/Hairstyling, and Costume Design. That’s not what I’m saying it will deserve – I haven’t seen any other contenders yet, with most of them still unreleased to the public – but a wild guess on what it will end up getting. I wouldn’t be the least bit upset to see Robbie or Gosling get a nod, although my gut says that enough voters will decide that the movie isn’t serious enough, the same way actors in genre films have had a hard time breaking through for nominations. Barbie totally captured me once the 2001 homage ended, and I’ll be surprised if this doesn’t end up among my ten favorite movies of the year.