It has been six long years since director Bong Joon-ho captivated audiences with his last masterpiece, the Academy Award-winning Parasite. However, the anticipation has finally culminated in the release of Mickey 17, an exhilarating and audacious space opera adapted from Edward Ashton’s 2022 novel Mickey7. This film showcases the distinctive storytelling flair of the South Korean auteur, weaving together themes of class struggle and economic disparity, all while presenting a visually stunning narrative that feels less dystopian than Bong’s earlier work, Snowpiercer (2013).
Mickey 17 exhibits a sleek, industrial aesthetic that allows its ensemble cast to shine, paired with a script rich in the quirky humor and dark violence reminiscent of a Coen brothers film. Robert Pattinson delivers a remarkable performance as Mickey Barnes, a hapless everyman burdened by crippling debt and a desire to escape the clutches of ruthless collectors. In a desperate bid for survival, he agrees to become an “expendable” on a mission to colonize a distant planet, under the iron-fisted leadership of congressman Kenneth Marshall (Mark Ruffalo), a tyrant with a striking resemblance to certain former political figures, aiming to create a “pure white planet full of superior people.”
- Mark Ruffalo’s portrayal of Kenneth Marshall is both satirical and incisive, while Toni Collette shines as Ylfa, Marshall’s eccentric wife obsessed with gourmet steak sauces.
- The plot unfolds with Mickey’s grim responsibility of testing various ways to die in space, only to be resurrected through a 3D printer that uploads his memories into a new clone.
Pattinson, in a career-best performance since 2019’s The Lighthouse, employs a high-pitched voice and a blend of naive charm that recalls the characters of Steve Buscemi in The Big Lebowski. His portrayal of Mickey is both laugh-out-loud funny and profoundly tragic. The character’s self-deprecating humor shines through as he responds to probing questions about his experiences of dying with resigned acceptance. “What’s it like to die, Mickey?” inquires a fellow crew member. “I hate it,” he replies with a forlorn sincerity, yet each time he faces his demise, he does so with a mix of apology and resignation, offering thanks as he is disposed of, or pleading with alien creatures for mercy.
Mickey’s existential crisis deepens when an unforeseen mishap occurs; he is supposed to die but miraculously survives. The result is the emergence of Mickey 18, a new clone that embodies the polar opposite of his predecessor. As the rules dictate, multiples are strictly forbidden, and if discovered, both faces deletion. The conflict escalates as 18, a hedonistic and aggressive version of Mickey, sets his sights on Mickey 17’s girlfriend, Nasha (Naomi Ackie). The tension builds as the two Mickeys grapple with their identities and desires, leading to an engaging yet chaotic confrontation.
While the film’s third act meanders slightly into a pantomime-esque territory that may disrupt its pacing, Mickey 17 ultimately emerges as a highly entertaining and absurd exploration of nihilism, cleverly juxtaposing humor with profound philosophical inquiries. At its core, the film suggests that perhaps the impermanence of life is what truly imbues it with meaning. This film marks a notable tonal shift for Bong, infusing a sense of nascent optimism that diverges from the bleakness of Parasite. In a world often shrouded in despair, this fresh perspective is both unexpected and refreshing.
In cinemas now
