A dark comedy about everything from politics and religion to relationships and animal cruelty, Bong Joon Ho's Mickey 17 is irreverent, sincere, and funny in a way that only he could pull off.
Mickey 17 Review
The director known for his satirical works like Parasite and Okja, projects that point a direct light on the evil that is capitalism and certain members of society, has returned. This time he takes us once again to a future where the Earth is a dystopian nightmare, forcing anyone not uber wealthy to make drastic decisions in order to survive. Despite being set in a world of science- fiction, the story is likely to hit oddly close to home. A failed politician who rises to power on the backs of his simple-minded followers aiming to create a “pure society.” There are more similarities, some obviously intended and others merely coincidences, but fortunately this movie isn't about the villain. It's about a slightly below average man named Mickey Barnes (Robert Pattinson) and his story is one of breaking cycles, both mental or physical, to become whole.
Adapted from Edward Ashton’s novel “Mickey 7,” Bong has created something that almost acts as an essentials playlist of his familiar aesthetics and plot points. Tonally, Mickey 17 feels like Snowpiercer and Okja. Like the former, it is set in a bleak future where humanity is hiding in a large vehicle, this time around it is a spaceship and they aren't the only humans in the galaxy. Still, the rich remain “fat and happy” while the rest of the occupants make do with rations of specially formulated slop highlighting one of the many socioeconomic disparities aboard. There are also some native creatures of Niflheim that bring to mind Okja and the director once again has something to say about how humans treat other living things. It's not all doom and gloom though, because like his other works, Mickey 17 retains that spark of hope that Bong infuses into his films. The hope is not for a miracle but that humanity will find its way back to some semblance of decency.
Mickey Barnes (Robert Pattinson) and his best bully Timo (Steven Yeun), are running from a loan shark when they have the opportunity to join failed congressman Kenneth Marshall's (Mark Ruffalo) journey to Niflheim, a planet where he plans to start a society more to his liking. Mickey manages to sign up for a job as an “expendable,” essentially becoming a lab rat/crash test dummy for the colony. He will be killed over and over again in the name of science, being 3D printed after each death with his memories of life (and death) intact. Mickey manages to build a life with Nasha (Naomi Ackie), a soldier who defends him every chance she gets. When Mickey 17 has a weird accident he is assumed dead and Mickey 18 is printed. Funny thing is, 17 survived and “multiples” are not allowed. This double existence could lead them to permanent death. While they try to figure out how to evade authorities in a confined space, the cruel tendencies of their “benevolent” leaders become more and more clear.
Mickey 17 is a dark comedy that’s irreverent, sincere, and funny in a way only Bong Joon-ho could pull off. Striking visuals punctuate a chaotic whirlwind that tackles everything from politics to animal cruelty. Pattinson is amazing, delivering not one but two incredible performances (and a few bonus moments as other Mickeys). Ackie is a scene-stealer as his hot-tempered, loving partner while Ruffalo hams it up becoming the embodiment of the people he loathes in reality. This film has a lot to say and for the most part Bong gets his points across. However, it does become bogged down towards the end, something which could have been easily remedied with specific cuts. Ultimately though it is wacky, amusing, and not subtle in its intentions. That type of storytelling Bong is known for, coupled with the talent of its cast make Mickey 17 an exciting watch.
What would lead a human to become so desperate to belong that they would willingly choose to die horrific deaths? Mickey has grown up convinced he is not worth anything. No one should pay him any mind. He is not worthy of love, kindness, or respect. This all stems from the childhood trauma of his mother dying in a car accident, something that Mickey believes he caused. No one ever cared enough to help him work through this, rather the institutions in his life – governments, authority figures, and/or religion – simply let him be haunted and helpless to overcome it. Bong uses this detail about Mickey to build out the premise of his satire. People, if they aren't careful, can fall into this cycle of belief where they internalize their failings, blaming themselves when in certain cases they are caused by (if not exacerbated by) the powers that be.
Bong shows Mickey becoming dehumanized as the subsequent printings occur. The first time he is looked after by several of the science staff. But by the 9/10/11th reprint, he is forgotten, left to fall out of the machine after it finishes, cold and naked. One would think the fact that all he does for the betterment of others would garner him some praise. Or at the very least a genuine thank you. But you would be wrong. He's treated no better than those poor animals left to suffer in laboratory cages in our reality. No one stops to think about what this kind of life might do to a person's mental health because after all, it's his job to die. There is a point here about understanding the value of living and not missing out on the good. The irony is that Mickey and the rest seem to miss it, focusing too much on the end rather than the whole. Something that is equally true for mankind as a whole.
Pattinson goes all in here and gives what I would say are some of his best performances yet. The Mickeys may look the same but they are about as different as can be in terms of personality and presence. Mickey 17 is a hunched over, awkward pushover who sounds both nasally and garbled at the same time. Despite all of this, you can't help but want to see the guy win at something. Then there is Mickey 18, a glowering, slightly sadistic, and more cunning version of Mickey. It's fun to watch these two interact, with Pattinson acting in two very distinctly different ways. Ackie is a scene-stealer whenever she pops up. Whether she is being protective of her golden retriever “mild” Mickey or wickedly obsessed with “habanero” Mickey, she is impossible to ignore.
Then there is Ruffalo and Toni Collette who plays his wife Ylfa who is equally off-her-rocker, although her level of derangement Bong chooses to reveal late in the film for maximum impact. Ruffalo balances the mustache twirling cartoonish villain with someone who is legitimately unconcerned with anyone or anything outside of himself. He plays as an amalgamation of certain presidents and mega church pastors packaged up in a slum landlord/used car salesman skin. Like Snowpiercer, the glaring differences between the haves and the have nots are unmistakable from the food to their clothes, with the lighting of the scenes adjusting to correspond to the opulence or lack thereof.
Verdict
Mickey 17 is Bong Joon Ho's latest satirical commentary on the world we live in and the failings of humanity and its constructs. He does it with a flair of zaniness and just the right amount of seriousness in order to get his points across. This chaotic whirlwind keeps moving along (despite some unnecessary moments that could have been trimmed for a tighter runtime) mainly due to the efforts of its core cast. It might seem like a typical sci-fi action comedy but it ultimately has a lot to say, never pretending to be coy about where it stands on hot topics from our own world. It's as irreverent as it is sincere. Who knows, maybe it will inspire audiences to fight for the simple things like human decency and kindness.
Mickey 17 opens in theaters March 7. It is rated R for violent content, language throughout, sexual content and drug material with a runtime of 2 hours and 19 minutes.
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