Mickey 17 is weaker Bong Joon-ho cinema, but still packs a darkly comedic punch

by

Compare the latest movie starring Robert Pattinson, “Mickey 17,” which falls under big-budget American cinema, to the more economical films directed by Bong Joon-ho, such as “Mother,” “Memories of Murder,” and “Parasite.” Unlike the grandiose style of “Mickey 17,” Joon-ho’s previous works often end with chilling sequences that are heavily or entirely silent. For instance, both “Mother” and “Memories of Murder” finish in this manner. The film “Parasite,” however, presents a bleak ending that underscores the unattainable nature of social mobility within capitalism, a message that can only be dreamt about in reality.

In simpler terms, the film “Mickey 17” relies heavily on dialogue to explain its futuristic dystopian setting. Its conclusion follows a typical pattern, and while it doesn’t match the passionate anti-capitalist themes of films by Boots Riley, Radu Jade, and Lizzie Borden, it’s still a product of the talented mind behind “Snowpiercer” and “The Host.” Despite being made with significant funding from Warner Bros., even a skilled director like Bong Joon-ho couldn’t fully express his creativity. However, within these limitations, “Mickey 17” remains a film that delivers dark humor, boasts impressive practical sets, and offers sharp political commentary – qualities often missing in many American blockbusters. This adaptation of the 2022 novel “Mickey7” by Ashton Edward is still an enjoyable watch.

20254 Earth resident Mickey (Pattinson) inhabits a dilapidated, chaotic future world that even the Mos Eisley Cantina seems luxurious compared to it, and the doors often get jammed halfway open. Communication devices frequently malfunction, while constant natural disasters relentlessly afflict Earth. Given his circumstances, it’s no surprise Mickey longs for escape, especially with a menacing loan shark pursuing him. To break free from this planet, he enlists in a lengthy space voyage aboard an enigmatic spaceship led by a cult-like group. On board, he agrees to serve as an Expendable – essentially becoming a human test subject for the ship’s scientists, who aim to understand how to survive their new alien environment.

In Bong Joon-ho’s narrative, we find ourselves right in the thick of things with character Mickey 17, who is getting ready for yet another demise on the frosty planet Niflheim. The storytelling technique employed by Joon-ho is unconventional as Mickey recounts significant aspects of his life out of sequence. One of the highlights in this segment featuring Mickey 17 includes a hilarious visual joke, masterfully executed in a single take, where Nasha intervenes to protect Mickey from a rude individual.

As a die-hard movie enthusiast, let me share my thoughts on the intriguing tale that is Mickey 17. While I thoroughly enjoy its time-jumping antics for their dark humor and stunning visuals, there’s one aspect that occasionally feels overwhelming – the excessive technical explanations about the cloning machine.

Don’t get me wrong, it’s fascinating stuff! But when the screen is flooded with these details, it can be a tad tiresome. However, I must admit, Mickey 17 sets itself apart from other films by opting for an engaging “how did I end up here?” approach to world-building, thus earning its spot alongside cinematic masterpieces like Hundreds of Beavers, Babylon, and Drive My Car. It’s not every day that a film manages to create such a thrilling narrative while still leaving us guessing until the very end!

The initial slow pace of ‘Mickey 17’ is particularly annoying because it delays the introduction of the film’s most engaging aspects. For instance, following the title card drop, viewers are quickly treated to more scenes featuring the charming alien creatures known as Creepers that inhabit Niflheim. I could really use a plush toy of these cute critters, maybe even one resembling Okja. More crucially, ‘Mickey 17’ eventually dives into its main conflict: there are now two Mickeys on this spaceship – Mickey 17 and Mickey 18. The storyline becomes intriguing as these clones coexist, a situation that usually leads to their elimination. Even for a character like Mickey 17, who has faced numerous deaths, dealing with multiple versions of himself is overwhelming.

In the realm of silver-screen criticism, I must admit that when two Robert Pattinsons gracefully appear on screen in “Mickey 17”, it’s as if the film springs to life. This seasoned actor, who has demonstrated a knack for physicality since his days as Edward Cullen, delves deep into subtly and powerfully portraying the stark differences between these two Mickey clones.

Much like Ewan McGregor’s captivating dual roles in Fargo’s third season, Pattinson’s portrayal of two distinct Mickeys truly resonates as two individual entities. This double act serves as a testament to the art of distinguishing the Jared Letos of the world from genuinely talented actors.

Watching Robert Pattinson’s subtle portrayal in “Mickey 17” alongside the relentlessly aggressive Mickey 18 is not just a delightful spectacle, but it also does an exceptional job at developing the characters. Unlike some actors who are often associated with their larger-than-life personas or sensational acting styles, Pattinson’s performance in this film doesn’t draw attention to himself. Instead, he delivers a highly nuanced portrayal that serves these characters and enhances the enigmatic atmosphere created by director Bong Joon-ho.

Much like Nicolas Cage and Christopher Walken, Pattinson has mastered the art of delivering extraordinary performances that greatly benefit the films they are part of. This talent is brilliantly showcased in “Mickey 17,” where it serves to create a captivating icy reflection of capitalism’s darker aspects.

In the movie, Pattinson and other actors bring to life an array of stunningly realistic ship interiors that make these settings feel incredibly authentic. By opting for practical sets, the grime and lived-in feel of the world in Mickey 17 is significantly heightened. This is a refreshing change from the overtly artificial backdrops prevalent in films like Captain America: Brave New World. Moreover, the exceptional production design isn’t the only aspect that sets Mickey 17 apart from typical American blockbusters. It’s intriguing to see a blockbuster film that so openly satirizes real-world fascism through characters such as Kenneth Marshall (Mark Ruffalo), a failed politician, and his wife Ylfa Marshall (Toni Colette).

In simpler terms, Marshall shares striking similarities with real-world political evil like Donald Trump, particularly in his speech style and the way his supporters wear red hats. However, Joon-ho’s script provides a more detailed analysis of what makes these characters symbolizing the “bourgeoisie” so harmful.

For instance, Marshall’s repeated emphasis on the ‘purity’ of their new icy home mirrors the eugenics mindset that has been prevalent in many fascist regimes over time. Additionally, portraying the Marshalls as deeply religious offers a refreshing change from Hollywood, which often avoids religion in intense scenes.

Moreover, when Marshall shouts “free at last, free at last” during a prayer before meals, it mirrors how right-wing politicians often misuse language and phrases originating from Black culture (such as the term ‘woke’) for malicious, self-serving purposes.

Compared to movies like Jurassic World: Fallen Kingdom, Mickey 17 is more daring politically because it delves deeper than just having a villainous henchman using a derogatory term. Instead, it mirrors real-world issues with stark clarity, much like Paul Verhoeven’s films Showgirls and Starship Troopers. In Mickey 17’s world of cloning and Creepers, you’ll find the same class divide as on Earth, where the rich despise the homeless. This lack of subtlety might not appeal to everyone, but I found it refreshing.

It’s also worth noting that the political commentary in this piece is presented in a delightful and absurd manner through comedy. Bong Joon-ho doesn’t only have profound messages about class and the persistent nature of white supremacy-coded evil into the future, but he also incorporates humorously physical gags that Pattinson performed exceptionally well. A prolonged scene in Mickey 17 where the character navigates a fancy dinner with the Marshalls is an excellent demonstration of Joon-ho utilizing political satire as a launchpad for brilliant dark comedy. This entire sequence, featuring screams, a gun, and a potentially damaged valuable rug, recalls Luis Buñuel’s The Exterminating Angel from 1962. Like that masterpiece, the Mickey 17 sequence uses exaggerated bizarre comedy to emphasize the ominous undercurrents lurking just beneath the 1%.

Mickey 17 showcases a versatile sense of humor, swinging between sharp political satire and finding humor in everyday situations like Robert Pattinson tripping on metal stairs. The diverse style of comedy showcases a daring production that allows its main character to fully express himself. Naomi Ackie adds to the fun, especially when portraying Nasha’s reaction to seeing two Mickey clones. However, the script is burdened by excessive explanatory dialogue and a confusing narrative structure. The ending of Mickey 17 could have benefited from more bite and dark humor. Unfortunately, this neater conclusion mirrors the constraints of critiquing capitalism within a $118 million budget film. Despite not reaching the heights of Parasite or Mother, Mickey 17, being about clones, still possesses unique allures.

Read More

2025-03-11 01:57