Mickey Barnes is doomed to die again and again over and over in grotesque yet banal ways. And this part of “Mickey 17,” is perhaps more entertaining than Bong Joon Ho’s frustratingly odd follow-up to his Oscar-winning thriller “Parasite.”
With “Mickey 17,” Ho’s third instalment in English features, he takes a swing at some of the same topics as his previous two, “Okja” and “Snowpiercer.” These topics include the ever-deepening economic divide, humanity’s self-inflicted wounds to Mother Nature, and the rise of authoritarianism. With a mix of bold satire and high style, the South Korean filmmaker has managed to bring these issues back to the forefront of the world and make them exceedingly relevant.
Fans of 2019’s “Parasite,” might be feeling let down by “Mickey 17” Regardless, he set the bar obsessively high. The trademark, masterful control of rhythm and build-up of tension showcased in his historic best picture is nowhere to be found here. Instead, it is replaced by a “free-wheeling” narrative style which feels scattered and strays from getting his overarching point across. During the midsection of this climactic whirlwind of visual effects, I found myself questioning, “What is happening, and how did we get here?”
Though, the rest of his performance is so deranged and outlandish that he manages to keep you hanging on.
Bong Joon Ho’s films are multitudes of Pattinson choices, ranging from indie movies to dark, blockbusters like “The Batman.” Lee brought a distinct charisma that could sway him to accept this part; it gave him a chance to embrace his sillier side while also showcasing breadth.
“Expendable” is the skin-crawling sci-fi twaddle that Pattinson stars in and portrays a character aged 30 and a half, set in a distant ice-orange planet thirty years later. Following the sadomasochistic tales of “Mickey17,” as per Ashton’s sci-fi book published in 2022, the “Mickey 17” himself. Micky, or at least what he hopes to be, is easily swindled. Signing up to breathe toxic air or probe for experimental vaccines guarantees death but gangsters back on Earth are the cherry on top. Leering threats are the cherry on top. A compelling montage full of morbid humour and violence paints a bright but dim image of acceptance, made all the more intriguing by Bong’s uncanny ability to weave dark humour with sharp pacing.
In one life-threatening situation, under the rubs of high tension, he literally (and figuratively) retreats into a snow-covered cave only for a presumed dead friend to reveal themselves and shockingly disclose that they were the ones who led him into this mess.
Steven Yeun, who has had a role in ‘Okja’ too, is always a nice face to see, yet there is not much to his character other than base self-centeredness and exploitation. The techs back at the lab believe Mickey 17 is dead, so they print a new version, Mickey 18. As soon as a new version is created the old one returns, which is a breach of the government’s multiples rule, and so the two must figure out a way, or if at all, to live together.
Mickey 17 is a pleasant people treater while Mickey 18 tends towards being brash and hostile. The fact that there would be some divergence in their traits is interesting, and it gives Pattinson room to alter his voice, posture, and physicality. The special effects are flawless as they cross paths with each other while performing in elaborate setups. Two Mickeys are an added bonus to his sultry girlfriend, Nasha (Naomi Ackie), a courageous security officer by trade, who is a too avaricious watcher. At the same time, Nisha (Happening star Anamaria Bartolomei) is smitten with the gentler version.
But they live under the smooth tyrant who controls everything, Kenneth Marshall, played by a preening, puffy-haired Mark Ruffalo.
His tomfoolery may draw a chuckle or two, but his self-promotion and the accompanying quest for so-called biological greatness are all too apparent. Marshall has a red baseball cap wearing fan club and a signature line. Ruffalo and Toni Collette as his scheming wife, Ylfa, work hard to overexaggerate the vileness of their characters, which earns some chuckles but grows annoying quite fast.
Things start getting a bit too intricate with Mickey 18’s arrival, despite the narration from Pattison explaining the workings of this world. Much of it has to be described, courtesy of the beautifully dystopian cinematography from Darius Khondji and the oppressive industrial gloom created by Fiona Crombie’s set design. There are too many subplots, which include a coup and irremediably dragging on “creepers” some convoluted critters that look like grey-dyed sued armadillos and are equally ugly and cute. This animal component, like in “Okja,” is not at all delicate, as it mercilessly pummels us with themes of immigration and colonization.
For more movies like Mickey 17 (2025) visit on 123movies
