Released: 7th March 2025 (UK and US)
Length: 137 Minutes
Certificate: 15
Director: Bong Joon-ho
Starring: Robert Pattinson, Naomi Ackie, Mark Ruffalo, Toni Collete, Steven Yeun, Patsy Ferran and Anamaria Vartolomei
Rising from small-scale monster movies to blistering social commentary, Bong Joon-ho is easily the most successful director in South Korea. He is partnering up with the big American studios for the first time with Mickey 17. It doesn’t stray far from his talents, but does fall short of previous efforts.
Based on a recent novel by Edward Ashton, Mickey 17 follows a space expedition in 2054 led by the slimy politician Kenneth Marshall (Mark Ruffalo). Mickey (Robert Pattinson) signs up for the trip to escape from loan sharks on Earth; branded as an expendable, he is frequently killed and reprinted to study the dangers of a frozen planet. When the expedition encounters an alien species, Mickey’s cycle of death and rebirth takes an unexpected turn. The story unfolds both in and out of the large spacecraft as Mickey, his lover Nasha (Naomi Ackie) and fellow colonists push back against their loathsome leader. Bong has always utilised social class in his films and this time it’s all about a megalomaniac tricking the poor into signing away their rights for a ticket off Terra Firma to pursue his vision of eugenics. By the end, the villain is clad in fascist attire and a pompous personality, very much like Benito Mussolini and similar figures. From a writing standpoint, Mickey 17 goes for more direct comedy in-between the big set-pieces; at times it can feel absurdist which does diminish the struggles of the characters. The film could have taken a middle-road to pull the audience in completely.
Following the more serious focus of Parasite, the director has returned to a quirkier style of dialogue. Robert Pattinson delivers another great performance which is split into two versions of his character. They play off each other well and you can quickly identify both throughout the narrative. Mark Ruffalo crafts a thoroughly dislikeable villain; he delivers every line with a sneering voice, showing his disdain for every other passenger on the voyage. Toni Collette matches him effortlessly, constantly whispering sycophantic praise and approval into her husband’s ear. Naomi Ackie does some good work too; by playing her off both the two Mickeys, the film creates more humorous scenes. In spite of these great performances, many of the characters don’t feel very deep; they rarely go through much reflection and the film’s final moments don’t carry as much weight. The snappy dialogue is more in service to the comedic elements which are very well-written, but this comes at the cost of other characters. Steven Yeun as Mickey’s friend Timo and Anamaria Vartolomei as the scientist Kai go by underused.
Taking a less is more approach, Mickey 17’s sci-fi landscape is small and self-contained; we get a brief glimpse of Earth with desperate souls spiralling down a walkway to sign up for the trip. The planet always feels frigid and unforgiving and the alien creatures are like oversized woodlice. For the most part they blend seamlessly with the actors and backgrounds. The film also boasts some great practical sets and vehicle designs. The clanking industrial corridors of the lower ship contrast with the printing technology and Marshall’s luxury suite. The score from Jung Jae-il is a great fit for the setting; one moment we hear chilling notes to match the frozen wastes and the next we get some more light-hearted tracks to complement the black humour.
Mickey 17 is an oddity; the kind of sci-fi film that will entertain or baffle depending on the audience. The lead performances, special effects and thematic undertones are all solid but I came away feeling less invested in the story and characters. Those who have followed Bong Joon-ho’s work should definitely check the film out for its more unique qualities, though it won’t be reaching the top of the genre.
Rating: 3/5 Stars (Fair)
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