‘Mickey 17’ Review: An Amusing Robert Pattinson Gamely Tackles a Double Role in Bong Joon Ho’s Scattershot Sci-Fi Follow-Up to ‘Parasite’

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Bong Joon Ho is known for his unique perspective in global cinema, often critiquing the issues of late-stage capitalism, social class divide, climate crisis, and misuse of power without limits. He uses satire, farce, horror, and violence to create a series of memorable genre films that also serve as thought-provoking commentaries on societal decay. The Korean maestro is famous for his sudden shifts in tone, which he often employs effectively. After the success of his four Oscar-winning film from 2019, Bong Joon Ho delves back into science fiction with “Mickey 17,” a dark comedy that satirizes autocracy and even attempted genocide.

In other words, just like the character Kenneth Marshall portrayed by Mark Ruffalo, we’re aiming at constructing “a pristine, white world inhabited by superior beings such as ourselves.” Given the current global shift towards conservative ideologies, it seems particularly apt to present an anti-fascist comedy that tackles disposable morality and invasions of personal freedom. At the same time, this narrative serves to inspire optimism for humanity’s ability to mend itself.

In the spirit of being a captivated reader of Edward Ashton’s 2022 novel “Mickey7”, I must say that Bong’s latest cinematic journey is a thrilling ride, much like his usual style. However, maintaining a consistent narrative thread, as one might hope, seems to have escaped this film, a common occurrence in Bong’s body of work. Yet, the deeper themes continue to evade me, remaining tantalizingly out of grasp.

In a nutshell, Robert Pattinson‘s versatile performance in Mickey 17 manages to keep the movie engaging. However, the satirical elements can be quite overt, as evident from the caricatured portrayal of Marshall with a Trump-like sneer and the red baseball caps worn by his naive followers. This straightforward satire might be why the film’s release plans have been delayed for a year, making it seem rather insignificant.

In the future year of 2054, Robert Pattinson portrays Mickey Barnes, a character who unknowingly falls into a risky business deal orchestrated by his questionable friend Timo, played by Steven Yeun. This misstep lands Mickey in the crosshairs of ruthless loan shark Darius, skillfully acted by Ian Hanmore.

In a hurry to leave Earth, the duo enlists for a swift space voyage to Niflheim, a far-off planet. On this planet, Marshall, who aspires to be a Messiah, and his wife Yifa, reminiscent of Lady Macbeth, plan to establish a colony that functions like a religious cult. A furious sandstorm outside an airport terminal resembling New York’s Guggenheim Museum hints at Earth possibly being irreparable already.

Timo managed to secure a pilot position through deceit, whereas Mickey lacks any relevant qualifications. Consequently, Mickey decides to take on a risky role, known as an “expendable.” This implies that he’ll be given perilous missions with low chances of survival. The story begins when they reach Niflheim and Mickey is designated as the test subject for the air quality, stepping out of the spacecraft, contracting a deadly airborne virus the instant he takes off his helmet.

Mickey’s physical form is regenerated using organic compost, while his consciousness and memories are restored from a solid-state storage device. Serving as a test subject for the creation of a vaccine, Mickey repeatedly dies and is reborn multiple times. However, he continues to fear this ordeal, finding comfort only in the affectionate presence of security agent Nisha (played by Naomi Ackie), who remains steadfast alongside him through every failed experiment and subsequent resurgence.

At a moment previously foreshadowed, Mickey’s 17th version plummets into a deep, icy chasm, his suit’s thermal and communication systems malfunctioning. Unassisted by selfish Timo, he faces yet another certain death, either from the harsh environment or the jaws of “creepers,” an alien creature resembling a large cockroach-caterpillar hybrid.

In a situation previously hinted at in an introduction, Mickey falls into a long, icy crack, his suit’s heating and communication systems failing. He doesn’t receive aid from self-centered Timo and is left to perish again, either due to the harsh weather or the teeth of “creepers,” which are like a big cockroach-caterpillar mix in appearance.

Varying in size from infants barely a foot tall to towering grown-ups, these beings seem comical rather than threatening. When what seems like their mother pulls Mickey 17 up to the surface and sets him free, he understands that the native species of this planet pose no danger to the settlers. Upon his return to the spacecraft, however, it’s believed that Mickey 17 has perished and Mickey 18 has been born, creating a problem since multiples are forbidden. The aggressive tendencies of 18, who intends to kill Marshall, only make their situation more precarious and harder to keep secret.

When a young plant creature is introduced onto the ship and partially destroyed by Yifa – who resembles a future-era cooking icon, worried over diminishing resources and fixated on discovering unique ingredients for her sauces – it leads to an enormous gathering of these creatures nearby.

In a stark commentary on modern-day politics, Marshall presides over The Tonight Show, now fully dressed in fascist attire. Viewing the growing number of suspicious individuals as an opportunity for “magnificent destruction,” he reveals a plan to eliminate them using a nerve gas they have been experimenting with. He persuades his loyal right-hand man and cameraman Preston (Daniel Henshall) to record his final declarations before executing this genocidal mission. The role of British comedian Tim Key, dressed in an oversized pigeon costume, remains unclear, serving perhaps as a jester of sorts.

Simultaneously, Mickey 17, equipped with a translation device created by sympathetic science team member Dorothy (Patsy Ferran), challenges Marshall’s authority to alert the creatures, who possess their own powerful ways of striking back.

The film is likely to gain significant backing from avid auteur enthusiasts, yet Bong’s narrative style, though undeniably whimsical, can be overly crowded and chaotic, with unnecessary distractions. It’s reasonable to infer that Ashton’s book had more intricacy, and while the director’s unconventional approach to the subject matter has a certain appeal, the storyline comes across as trivial, and the political jabs seem somewhat ineffective. Unfortunately, the forceful acting by Ruffalo and Collette doesn’t help; their performances are reminiscent of Jake Gyllenhaal’s over-the-top portrayal in Bong’s “Okja.

Ackie infuses her character with an indomitable energy, and Anamaria Vartolomei (who made such an impact in Audrey Diwan’s Venice Golden Lion winner, Happening) provides a balancing influence as Kai, another collaborator against Marshall. However, Yeun’s role lacks the depth it needs due to being one-dimensional.

In my gaming world, Robert Pattinson masterfully brings Mickey 17 and 18 to life, giving the first a quirky, American-accented voiceover and making the second explosively volatile. As they constantly try to off each other, it’s their struggle that provides the movie with its most palpable tension. And there’s a hint of sorrow in Mickey 17 whenever someone queries about his experiences of death – something he encounters quite frequently.

Fiona Crombie’s set design gives the film a grandeur that is somewhat reminiscent of Mar-a-Lago’s opulence, particularly in the lavish interior of the Marshalls’ residence. However, despite being filmed by Darius Khondji and shown in IMAX, the visuals are not particularly exceptional. As with Bong’s other works, unconventional music selections add energy, ranging from whimsical waltzes to Danny Elfman-esque carnival tunes.

In Mickey 17, although I never found myself bored, I frequently pondered over its intended audience and its core themes. The film emphasizes the risks of human replication and the possibility of misusing the technology, a grim warning delivered by an influential Earth official, powerfully portrayed in her final screen appearance by Haydn Gwynne, who the movie is dedicated to. However, the intriguing idea of recyclable people is overshadowed too frequently by a comical depiction of power corruption. The film’s exploration of this topic can be observed at any time by mindlessly scrolling through newsfeeds.

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2025-02-15 21:26