by Jack Grimme, Contributing Writer
Going into Mickey 17, it would have been easy to name Bong Joon Ho as one of the most, if not the most, innovative and versatile directors in the game. A quick glance at his catalog is almost jarring, given the sheer range of disparate stories and narrative styles he has tackled over the years. In the mood for a claustrophobic, dystopian action-thriller? He’s got you covered with Snowpiercer. Memories of Murder offers undeniable appeal for those drawn to nuanced, thought-provoking detective pieces. Okja is heartwarming and quirky, while Parasite has a little bit of everything imaginable. Mickey 17 wisely continues the trend set by the illustrious Best Picture winner, further showcasing his ability to meld all of his strengths into one film.
After stumbling into life-threatening financial woes, Robert Pattinson’s Mickey opts into a highly controversial program that defies death. His new relationship with mortality forces him to grapple with life, relationships, and the ethics of humanity from a whole new perspective. The cast is rounded out by several beloved names, including Mark Ruffalo, Toni Collette, and Steven Yeun. Everyone is dialed to 11, delivering a variety of exaggerated, almost cartoonish performances, with Pattinson very much leading the charge.
Mickey 17 gets weird. So how weird are you feeling? Pattinson puts himself out there with some obtuse mannerisms and accents. Ruffalo is literally chewing the scenery with his comically large dentures, which seem perpetually on the verge of bursting out of his mouth. Collette’s Ylfa fervently believes that the secret to the universe lies in the pursuit of a perfect sauce. And then there are the creepers, the alien creatures Bong and his team designed for the film.
Tonally, this film most closely aligns with Okja when compared to Bong’s previous work. That’s a boon for some and a red flag for others, but either way, the warning should be heeded. Fortunately, everyone (both on and off screen) is on the same page, so the tone is perfectly matched and fleshed out from top to bottom.
One consistent through line in Bong’s work, regardless of genre, is pointed political and socioeconomic commentary. Mickey 17 more than continues that trend. Ruffalo plays an irredeemable politician determined to plant the seeds of a new “pure” world. That specific part of the film’s message is anything but subtle, but it’s effective nonetheless, thanks to how it complements the film’s sense of humor. Meanwhile, the themes of mortality and personal acceptance require a bit more thought and engagement from the audience, making them all the more meaningful.
Even if the performances irk you and the themes don’t fully connect, there’s still a strong chance you’ll enjoy this film, largely due to the world it builds. A sci-fi story lives or dies by its concept; your audience either needs to desperately yearn to step into the futuristic world you’ve built or be viscerally repulsed by the implications of its technology. Mickey 17 leans more toward the latter and succeeds because of it. The world is a recognizable, somewhat realistic extrapolation of our society’s current perspectives and priorities. The audience is encouraged to ask themselves what they would do in this sandbox, identifying the parallels between our world and one where death is a more fluid concept.
Ultimately, this film will resonate with viewers who can attune themselves to its tone. As mentioned earlier, Mickey 17 continues the trend of uniting Bong’s strengths into one cohesive piece, steering closer to the tone of Okja or Snowpiercer than that of Parasite or Memories of Murder. If it doesn’t connect with you on the first watch, maybe try again another day when you’re in the mood for something a little lighter. In the meantime, just throw a dart at Bong’s IMDb page; sooner or later, you’ll land on a project that’s right up your alley.
Rating: Loved It
Mickey 17 is currently playing in theaters
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