“Mickey 17” has won early audiences over with its comedic performances and wild storytelling since its premiere in London and the start of screenings throughout the United States.
“Director Bong is going to change a lot about [Mickey7]. When I spoke with [Bong Joon-ho], he made it pretty clear,” author Edward Ashton said in an interview with The Nerdist on Bong Joon Ho's adaptation of his novel, Mickey7.“You’ve got a 350-page book. I’m gonna have a 120-page script. There’s a lot that’s gonna go.”
But as more critics weigh in, there’s a looming sense of disappointment in what was expected of Bong’s first film since his Academy Award winner “Parasite.”
“Mickey 17” stars Robert Pattinson as Mickey Barnes, an “Expendable” on a colonizing space mission to the ice planet of Niflheim. As an “Expendable,” Mickey is copied and reprinted when previous versions of his body die during dangerous tasks given to him by the different divisions of the ship.
Mickey narrates his life as the only Expendable aboard leading up to the point of his “seventeenth death.” However, when he returns to the ship alive with the next copy of himself already printed, he must work to hide his identity as an illegal “Multiples,” unless he wants to be “permanently deleted.”
Alongside Mickey’s identity crisis, he must work with his girlfriend, Nasha (Naomi Ackie), to ensure that the colonization of Niflheim doesn’t upset the indigenous population of creatures, nicknamed Creepers.
“Mickey 17” is all over the place in its tone. The comedy throughout has its outlandish moments, but the film can also mellow out into heartfelt moments. While tone flip-flops throughout, the themes remain consistent.
From the antagonist Captain Kenneth Marshall (Mark Ruffalo) having an accent reminiscent of President Donald Trump, stating he wants to build a “pure white world,” to a speech by Nasha claiming that “we’re the aliens” on this new planet, it’s not hard to find the larger underlying theme: American Imperialism.
Imperialism certainly is not new territory for Bong. Instead of leaving hints and vague symbolism, it feels too out in the open and unfamiliar for what some cinephiles may have been looking for from a Bong Joon-ho film.
Those who only know Bong Joon Ho as the director of “Parasite” might be disappointed with the stark comedic and satirical tone of “Mickey 17.” There is needed context from two of Bong’s past films: “Snowpiercer” and “Okja.”
The previous films in Bong’s repertoire have been repurposed into “Mickey 17,” creating the unique perspective of a director exposed to the dominating presence of America.
While themes of corruption and imperialism take over the film, the themes of death and Mickey as an “Expendable” are left behind, leaving the more interesting aspects of this dystopian sci-fi unanswered.
Pattinson is a force to reckon with as the expendable Mickeys. Mickey 17 specifically has the meek voice seen in trailers that Pattinson attributed to Steve Buscemi in “Fargo.”
Mickey 17 narrates the film and Pattinson’s comedic timing adds much-needed levity. Mickey 18 seems to be the embodiment of Pattinson’s learned skills from playing Bruce Wayne in “The Batman” as he made Mickey 18 darker and more self-reflective than 17.
Ruffalo steals every scene he’s in with his accent and pompous demeanor as Kenneth Marshall. Marshall’s reliance on his wife Ylfa (Toni Collette) for leadership advice results in a villain duo that becomes over-the-top caricatures of the upper class.
Mackie dominates as Mickey’s girlfriend Nasha, staying loyal to their relationship until the very end, while Steven Yeun's Timo is presented as a best friend with unknown loyalties.
Not every film a director creates is going to be their ‘magnum opus,’ yet Bong’s “Parasite” might remain the average cinephile’s favorite.
“Mickey 17,” however, seems to be the film that shows Bong Joon Ho as a director who fits well into the Hollywood system and the contemporary South Korean film scene.
“Mickey 17” will be released in theaters everywhere on March 4.
This article was edited by Alia Messina, Marina Zaczkiewicz and Abigail Turner. Copy editing done by Luna Jinks, Olivia Citarella and Hannah Langenfeld.
