‘Mickey 17’ Can’t Stop Lecturing Us

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Initially, Bong Joon-ho’s “Mickey 17” was delightfully bizarre. However, the more I watched, the more it became overwhelming and outstayed its charm.

The movie that Bong Joon Ho has made following his Oscar win for “Parasite” (2019), represents an expansive, daring attempt at something grand that a significant production company might grant to an artist who experienced massive success and decided to leverage it for a big payoff.

Although “Mickey 17” isn’t exceptional, it’s not a standout movie either. I’m happy I watched it in the theater and there are some memorable scenes, but re-experiencing the entire film to reach those moments isn’t something I plan on doing anytime soon. It was an admirable attempt, but a failure nonetheless.

In the year 2054, Robert Pattinson portrays Mickey, an ordinary Earth resident who finds himself in a predicament due to poor fortune. Foolishly, he consents to joining a space program, unknowingly relinquishing his life and freedoms. Mickey has taken on the role of the sacrificial lamb, a volunteer ready to risk himself for the sake of scientific discovery and interstellar exploration.

One advantage is that Mickey can be replicated following each gruesome demise, yet one might question if this kind of existence is worthwhile. If a mishap transpires and somehow enables Mickey to evade death by the hands of an alien race known as “creepers,” his life becomes even more intricate and hazardous.

During the initial part of the movie, I found myself captivated by its unique blend of dark humor, stunning visuals, a pessimistic outlook on humanity, and an intriguing Pattinson portrayal that served as the focal point for the entire film.

After establishing the central idea of the story (which the amusing 2022 novel “Mickey7” by Edward Ashton introduced more swiftly), events take a turn for the worse. By the point we reach the prolonged, gruesome dinner scene and the delayed escape sequence, both of which drag on excessively, everything presented seems like an ordeal.

The content is overwhelming, and especially the acting performances by Mark Ruffalo and Toni Collette in their roles as the false religious cult leaders on the spaceship. While a bit of it would have been impactful, their performances seem more fitting for a comedy sketch on “Saturday Night Live.

Rather than portraying characters I found myself reluctantly admiring for their wickedness, both actors delivered such exaggerated performances that I became awkwardly self-conscious.

As a film enthusiast, I found “Mickey 17” to be overtly preachy, veering away from its intended tragicomic exploration of humanity’s valuation of life. I yearned for it to tone down the political satire, cult critique, and allegories of colonization, and instead focus more on the intricate dynamics of how we humans assign worth to each other’s lives.

The initial intriguing elements fail to deliver as intended, often becoming overshadowed by an excessive number of side stories. These include a romantic entanglement, dealings with a loan shark, strained friendships, and even a shockingly late addition of suspenseful moments, which detract from the aspects that effectively work.

Bong Joon-ho is truly a forward-thinking director, and this film left an indelible impression on me. However, when comparing it to his extensive collection of films, it’s not “Snowpiercer” (2013) or “The Host” (2006), the pulse-pounding dystopian tale or the well-blended monster movie respectively, that I find it most similar to. Instead, it shares some characteristics with Bong’s somewhat off-mark effort, the similarly extravagant and inconsistent in tone “Okja” (2015).

Although “Okja” is somewhat superior to “Mickey 17,” both movies have similar themes about creatures and try to forcefully include a heavy-handed modern message, which doesn’t always work. Additionally, both films have well-known actors giving over-the-top performances; however, the acting of Jake Gyllenhaal in “Okja” is more compelling than the Razzie-worthy performance by Mark Ruffalo in “Mickey 17.

In a nod to a hint – Denis Villeneueve’s thought-provoking film “Enemy” (2013), which delves deeply into the risks of encountering your twin, surpasses other works in this regard. However, the overall concept was more effectively depicted in “Edge of Tomorrow” (2014) and “Source Code” (2011).

In simpler terms, both “Moon” (2009) and “Oblivion” (2013) stand out compared to “Mickey 17,” as they effectively tackle similar themes without overwhelming the story with numerous characters, unnecessary scenes, or heavy-handed messaging that may be difficult to grasp.

A good film simply narrates its tale effectively and leaves us engrossed in discussion about it long after viewing, while a film that overtly pushes a clear message, even if well-intentioned, feels as though the director is sitting beside us, shouting into a megaphone.

In “Mickey 17,” there was an excess of other elements, making it difficult for Robert Pattinson’s daring acting style and captivating character to truly shine.

Given the variety of genres and the intriguing hairstyles reminiscent of Mr. Pattinson in each (which seem to hint at reshoots), it’s not surprising that the film’s release date was delayed multiple times, due to its often displeasing content.

A portion of me is impressed by the boldness displayed by Bong, Pattinson, and Warner Bros., as they persist with their unconventional idea. Yet another side of me yearns for some light-hearted entertainment and would love to revisit “Edge of Tomorrow” instead.

Two Stars (out of four)

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2025-03-11 21:03