Mickey 17 Review: Robert Pattinson’s Space Satire Plays It Too Safe

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If you found “Starship Troopers” lacking in its satire and felt a need for characters explicitly pointing out the parody of fascism, then you might appreciate “Mickey 17.” Bong Joon-ho’s films are not known for their subtle social critique, but after the well-received upper-class criticism in “Parasite,” it seems we’ve overlooked that his scripts often lean towards being overtly critical.

In the audience, it was hard for anyone to overlook the fact that Bong’s space colonization story is a critique of contemporary fascism, as evident by the villain (played by Mark Ruffalo) who speaks with a tone reminiscent of Trump and yearns to govern a “human race as pure as snowflakes” on Niflheim. The satire is clear, but the film emphasizes these themes whenever characters have opportunities, to ensure that viewers without explicit exposition can still follow along.

It’s unfortunate that “Mickey 17” leaves a sour taste at the start, given how uniquely quirky the rest of the film is compared to many dystopian blockbusters. In reality, the movie most reminds one of Bong Joon-ho’s previous English production, “Okja.” So much so, that it could be seen as a space-themed counterpart to Okja.

Not the sum of its parts

As a gamer, I’d say it goes like this: In Bong Joon-ho’s latest sci-fi tale, we find ourselves aboard a spaceship en route to Niflheim, a distant planet, where former senator Kenneth Marshall (Mark Ruffalo) is leading an expedition to relocate humanity. His goal? To wipe out the adorable alien species native to this world, which his wife (Toni Collette) describes as looking like ‘croissants dipped in filth’.

However, unlike “Okja”, this story takes a much broader approach, mirroring Trump-era American society within the confines of the spacecraft. Bong Joon-ho masterfully paints a picture that makes you think deeply, yet it feels like some plotlines, such as the hints of a rampant drug addiction problem, were chopped up in the editing process.

The story revolves around Mickey Barnes (Robert Pattinson), joined by his friend Timo (Steven Yeun), who are attempting to elude debt collectors by accepting jobs on a ship. With limited work experience, Mickey applies for the role of an “expendable,” allowing his DNA to be saved for lethal research missions and resurrection from death, primarily for developing vaccines that enable humanity to migrate safely to a distant planet. Sporting a cartoonish accent and a permanently puzzled, blank expression, Pattinson fits seamlessly into Bong’s live-action cartoon setting; it’s actually surprising to see an actor known for his diverse vocal range and eccentric physical humor dial back those traits when necessary. As the story progresses, Mickey takes on the role of a common man character in Pattinson’s filmography, whose troubles stem from the familiar human mistake of neglecting to read the fine print before signing contracts; the emergence of a more ruthless “multiple,” seeking vengeance against his superiors while Mickey remains passive, further highlights him as an unconventional stand-in for the audience.

The initial two acts skillfully build and depict the complex environment on board the spaceship, where scientists, laborers, and authoritarian leaders all strive for control in shaping humanity’s destiny. This setting also serves as an allegory for Edward Ashton’s original novel, which delved into the moral implications of its scientific themes, and questioned the ethics behind a program intended to degrade workers – one of the few nuanced aspects in the script is how it invites viewers to draw connections between this and the rise of automation in workplaces. Despite its heavy themes, the director’s humor keeps things light, although there are instances where it seems some potentially intriguing scenes were toned down unnecessarily; one such example is a scene hinted at in the trailer, showing two versions of Mickey with girlfriend Nasha (played by Naomi Ackie), which was meant to be a threesome but was cut before any explicit content. In an unusual occurrence for a $150 million blockbuster, this is one of the rare moments that seems to have been altered in response to studio anxiety about the content.

More conventional than expected

Although I admire Bong Joon-ho’s work in general, the straightforward ending of this film might not be his choice but a result of studio intervention. Mark Ruffalo’s entertaining portrayal of the villain is somewhat weakened as the main characters explain his flaws that seem too obvious to need explanation. The theme of humanity and nature, similar to “Okja,” appears to be the central focus of this film.

Despite its grand buildup leading to an action sequence, it ultimately falls flat and feels much like any other space opera following “Star Wars,” as characters journey to an Arctic Tundra in a battle for alien creatures’ fate. The sophisticated direction of “Mickey 17” is commendable, but the final act lacks distinctiveness; all intricate ideas and peculiar notions culminate into just an Arctic chase. Leaving the movie theater, I held onto the initial two-thirds as evidence that I was only moderately unsatisfied. As time passes, I find myself increasingly disillusioned by how ordinary it seems – a well-crafted, entertaining blockbuster, but one where none of its quirks or social commentary coalesce into a completely fulfilling experience.

In “Snowpiercer,” Bong Joon-ho’s exceptional English-language dystopian narrative, the director successfully defied Harvey Weinstein to keep final cut control in the American market; notorious producer Weinstein reportedly believed that the film’s class struggle commentary wouldn’t resonate with viewers in non-coastal regions. The main issue with “Mickey 17” might lie in its attempt to address its themes while considering this criticism, going to great lengths to ensure no concept would be misinterpreted by any viewer.

Furthermore, it seems as though a larger, more elaborate narrative was trimmed in the editing process – Steven Yeun’s character appears to have significantly less screen time than anticipated, given his third-billing and the intricate relationship he shares with Mickey. His storyline, intended to mirror Mickey’s, is reduced to a secondary role, even though it intertwines with the protagonist’s journey. Director Bong Joon-ho excels at populist storytelling, but towards the end, there’s an impression that he lost some confidence in sticking to his original vision due to the project’s grandiosity. This is his least impactful of the three English language productions because it feels like he toned down his satirical style, offering explanations alongside every joke out of concern that the parody might be too complex for viewers.

“Mickey 17” is released in U.S. theaters on March 7.

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2025-02-15 21:30