**This review contains minor spoilers for Mickey 17**
There are only a handful of filmmakers who have the ability to outclass the films that they made in the past. Martin Scorsese, Steven Spielberg, Sarah Polley, Katheryn Bigelow, and Christopher Nolan are some of the names that come to mind who consistently push the boundaries of storytelling, refining their craft with each new project while redefining the very essence of cinema itself. Another name that belongs in this league is Bong Joon-ho, who, after winning the Oscar for Parasite, continues to push cinematic boundaries with Mickey 17, a film that is equally bold, visionary, and masterfully crafted.
Adapted from Edward Ashton’s novel Mickey7, the film is set in a dystopian future where Earth’s resources are depleted and follows the journey of Mickey Barnes (played by Robert Pattinson), an “Expendable” worker assigned to a dangerous colonization mission on the icy planet Niflheim. The premise is chillingly relevant, mirroring real-world issues of labor exploitation, corporate greed, and the dehumanization of workers. Mickey’s role is clear-cut: he is to die repeatedly on perilous assignments, only to be “reprinted” via cloning technology that is outlawed on Earth. His plight is both tragic and deeply compelling, serving as an allegory for how the capitalist machine treats individuals as disposable cogs in a larger system.
Bong Joon-ho explores identity in an extraordinary way
Robert Pattinson in a still from ‘Mickey 17’ (Photo Courtesy: Warner Bros. Pictures)
Joon-ho, who is known for his brilliant social commentaries like Parasite and Snowpiercer, injects Mickey 17 with layers of meaning. The film does not just tell a gripping sci-fi story; it holds up a mirror to our own world, raising questions about class disparity, the ethics of technology, and what it truly means to be human. The conflict between Mickey 17 and Mickey 18—two clones forced to fight for their survival in a society that rejects their coexistence—adds an existential depth to the narrative, highlighting issues of identity and autonomy in an age where artificial intelligence and genetic manipulation are rapidly evolving.
The direction is stupendous and you expect nothing less from Joon-ho, who won the Oscar for Best Director at the 92nd Academy Awards. Mickey 17 is one of the most visually-striking films I have seen in recent years. There’s no doubt that a sci-fi film needs to be brilliant when it comes to visuals, and Joon-ho does a phenomenal job in creating a visually magnificent universe. The icy landscapes of Niflheim are hauntingly beautiful, capturing the planet’s harsh, unwelcoming nature while also evoking a sense of cosmic wonder. The film’s production design, cinematography, and visual effects work in harmony to create a world that feels both alien and eerily familiar. One of the strongest aspects of the film is the “creepers,” the native lifeforms of Niflheim. The entire life-form is rendered with astonishing realism, their otherworldly biology looks mesmerizing and terrifying at the same time. But what sets Mickey 17 apart from typical sci-fi blockbusters is Joon-ho’s ability to blend the fantastical with the intimate. Even amidst grand space battles and high-stakes survival scenarios, the film never loses sight of its characters’ emotional journeys.
Robert Pattinson is spellbinding, Supporting Cast is Marvelous in Mickey 17
At the heart of Mickey 17 is Robert Pattinson’s knockout performance as Mickey Barnes. Pattinson, who has turned out to be one of the most versatile actors of this generation with films such as The Lighthouse and The Batman, delivers a poignant and nuanced portrayal of a man wrestling with his own expendability. His character seamlessly transitions between despair, defiance, and dark humor, making Mickey’s journey emotionally resonant and deeply relatable. Playing so many characters, Pattinson masterfully differentiates the various versions of his character, especially Mickey 17 and Mickey 18. The dynamic between the two versions of Mickey provides some of the film’s most tense and philosophical moments, as they struggle to define their own existence outside of the roles imposed upon them.
Beyond Pattinson’s mesmerizing performance, Mickey 17 boasts an ensemble cast that elevates the film’s emotional and thematic weight. Naomi Ackie, as Nasha Barridge, delivers a performance brimming with strength and vulnerability, portraying a woman torn between loyalty to her duty and her growing empathy for Mickey. Steven Yeun, in a more layered role than initially meets the eye, brings charisma and emotional depth to Timo, Mickey’s best friend and fellow colonist. Mark Ruffalo and Toni Collette, portraying the authoritarian colony leaders Kenneth Marshall and Ylfa, inject the film with an unsettling sense of control and manipulation. Their performances capture the bureaucratic indifference and moral compromises that come with governing a desperate human colony, making them compelling antagonists.
Is Mickey 17 one of Joon-ho’s best?
Robert Pattinson and Naomi Ackie in ‘Mickey 17’ (Photo Courtesy: Warner Bros. Pictures)
But the most significant aspect of the film is its ending. The film refuses to offer easy answers. Instead, it challenges the audience to consider the ethical implications of cloning, the cost of survival, and the power of collective resistance. This makes Mickey 17 such a riveting watch. However, this movie is not for everyone and there will be polarizing reactions to it because of how it takes so many things from the world we live in right now. Be it the authoritarian governments in the world or how big corporates treat their employees, this movie will touch everyone’s heart and prompt them to think about things that are actually happening to them.
All in all, Mickey 17 is a bold, visually stunning, and intellectually stimulating film that proves Bong Joon-Ho’s mastery of the sci-fi genre. The script seamlessly weaves existential philosophy with sharp social commentary, elevating the film beyond typical sci-fi fare. Another masterpiece from one of the best filmmakers of this era.
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