Five years after winning Best Picture for Parasite, Bong Joon-ho returns with Mickey 17. The big question is: does this live up to his previous work, or is it a disappointing step down?
What initially drew me to this movie was its intriguing concept. The idea of a person whose sole job is to die repeatedly for the sake of humanity—thanks to cloning technology—is both fascinating and disturbing. For the most part, the film explores the political, religious, and ethical dilemmas that would arise if such technology existed. Bong Joon-ho uses this premise to craft a sharp satire on American politics while exploring deeper themes about identity and what makes us truly human. The writing is strong, filled with clever comedic moments, subtle jabs, and a genuine message. At its core, Mickey 17 also functions as a quiet coming-of-age story for its protagonist, leading to a satisfying and well-earned conclusion.
Visually, the film is stunning. The production design—from the sets to the costumes and even the CGI—is impressive. The ship’s muted colors and claustrophobic layout reinforce Mickey’s status as a disposable worker, making his existence feel suffocating. This contrasts beautifully with the planet Niflheim, which is bright and open, creating a striking visual juxtaposition. The alien designs are both grotesque and strangely adorable, a testament to Bong’s ability to balance the bizarre with the endearing.
Robert Pattinson delivers a phenomenal performance as both Mickey 17 and Mickey 18, giving each iteration a distinct personality. His chemistry with himself is oddly compelling, and he also shares strong on-screen moments with Naomi Ackie, who plays his love interest. Mark Ruffalo and Toni Collette are a delight as the film’s over-the-top, egomaniacal antagonists, fully embracing the darkly comedic tone.
That said, their performances might be divisive. Ruffalo and Collette lean into cartoonish villainy, which contrasts with the relatively restrained performances of the rest of the cast. Given the film’s dark comedic edge, I think it works, but some viewers may find it jarring. Additionally, supporting characters played by Steven Yeun and Anamaria Vartolomei are saddled with underdeveloped subplots that feel tacked on rather than essential. Vartolomei’s character, in particular, seems to be heading toward a revenge arc that never fully materializes, and both their storylines are wrapped up in an unsatisfying manner.
If I had any nitpicks, I wish we had seen more of Mickey’s past deaths, considering he’s died 16 times before the film’s events. The movie establishes that each clone has a slightly different personality, but rather than showing this, it’s mostly told to us. There’s also an expository scene explaining why having multiple clones is forbidden, featuring a backstory so compelling that I almost wished that were the film instead.
Overall, Mickey 17 is a fun and thought-provoking addition to the sci-fi genre. While it doesn’t fully capitalize on its ambitious concept, the story it tells remains engaging and entertaining. It works as both a popcorn flick and a film with meaningful themes. Plus, Robert Pattinson doing another funny accent is always worth the price of admission.
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