Mickey 17 Review
Bong Joon-Ho has, time and time again, proven how he has a keen eye on the current socio-political landscape through his directing. Snowpiercer taught audiences the economics of class warfare in the face of an environmentally desolate world. Okja highlighted the extremities and atrocities of animal cruelty through an anti-capitalistic perspective. Both of these films, and more, not only captured our attention, but also reminded us of how screwed up our traditional systems are and how change can be made through these quirky, yet hard-hitting, scenarios. Mickey 17 feels like the magnum opus of what Bong’s vision is (even though it’s an adapted work).
Mickey 17, based on Edward Ashton’s original novel, follows the life of a simple man, Mickey Barnes (Robert Pattison). As an expendable, Mickey is stuck in a loop of life and death as he takes on dangerous and deadly missions in preparation for colonization. The colonization team, led by the narcissistic, if enigmatic, failed politician Kenneth Marshall (Mark Ruffalo) and his snobby wife Ylfa (Toni Colette), continually manipulate Mickey for their own purposes. However, when more than one Mickey enters the picture, a big problem arises for both Mickeys and the new colony.
In its opening scene, it already does a great job captivating you with Pattinson’s wimpy narration as the latest Mickey iteration. He’s somehow manages to find himself in this icy, cold crevice without any help until his “good” friend Timo (Steven Yeun) comes around. Though it initially looks to be a grand rescue, it subverts your expectations as Timo only saves the equipment rather than picking up Mickey. Here, Yeun delivers what’s perhaps the most interesting (and most annoying) line you’ll hear over and over again: “What’s it like to die?”
This idea of being used and manipulated by the system is heavily integrated into Bong’s writing in a fun, if depressing, way. Through an entire first act focused on flashbacks, we learn that Mickey and Timo were junkies under the watchful eye of a loan shark back on Earth. As a way to find safety, and fortune, both of them decided to join Marshall’s mission. However, how Bong presents Mickey’s assignments are borderline tortuous even if Mickey seems okay with it. From being injected with so many needles to burning under the radiation of space, Mickey is essentially experimentation fodder that can easily be replaced.
The buck-toothed Marshall and Ylfa, the religiously cult-like leaders of this expedition, are nearly dismissive of all the bad things they do to Mickey. Ruffalo and Colette exquisitely present Marshall and Ylfa as this innately selfish, conservative-leaning duo in every scene, especially when they decide to “elevate” Mickey to their level with a dinner. It’s made clear that Bong is playing on the extremisms of Donald Trump, even going so far as to have Marshall exhibit similar mannerisms and expressions. However, Colette’s Ylfa becomes increasingly ruthless to a point of unadulterated sadism, especially by its third act.
There’s one person though who provides a much needed comfort, albeit in their own unusual way: Nasha (Naomi Ackie). Though she may be part of Marshall’s security force, her passionate affection for Mickey is stronger than her political loyalties. She knows about Mickey’s harsh circumstances and, even though their relationship gets very erotic, she still cares for him. The on-screen chemistry Ackie and Pattinson share is just a joy to watch amidst all the bleakness and negativity from the rest of the crew.
Mickey 17’s social narrative really gets going when Mickey 18, the newest iteration to replace the still-alive 17, is introduced. In this world, multiple expendables are banned on Earth and have no place in this supposedly utopian culture. While it may seem like it could lead to a double-trouble plot, Bong’s writing is able to explore this dynamic psychologically.
Mickey 17 is the more introverted, submissive, awkward version who’s fearful of standing up to Marshall while Mickey 18 is the abrasive, vengeful, violent one who wants to do what’s right. Pattinson gives an amazing performance as Mickey and Mickey, playing off of himself as these two characteristically different versions with ease.
In between the cloning problems, Mickey 17 also emphasizes the ideas of colonialism and humanity’s supremacy (an allegory for right-wing nationalism) heavily. Bong isn’t one to make things subtle, which is felt apparent by the third act. Of course, Marshall’s transformation from flashy rich boy to an unabashed fear-mongering dictator truly represents what Bong sees as Marshall’s plans involve eradicating Nilfheim’s natives, the cute Creepers. However, the final act’s execution can be a little over the place given all the moving parts between Mickey, Marshall, and what the Creepers actually do.
Uncompromisingly political yet hilarious, Mickey 17 confidently delivers its intriguing narrative rooted in the injustices of capitalism, class warfare, and colonialism through the sci-fi absurdities of Bong Joon-Ho’s vision and Robert Pattinson’s electric performances. If you wanted to watch another bizarre Bong film that mashes the ideas of Snowpiercer and Okja together, then Mickey 17 perfectly fits the criteria.
Rating: ★★★★
Mickey 17 arrives in theaters Friday, March 7
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Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.