Review | Mickey 17

Rating: 4 out of 5.

If you’re expecting Bong Joon Ho’s latest sci-fi black comedy to emulate his Oscar-winning Parasite, prepare for disappointment. Mickey 17’s antifascist message is as subtle as a slap to the face, likely to isolate viewers who prefer political commentary buried in subtext. Accompanied by striking visuals and an evocative soundtrack, Mickey 17 is ultimately a playful, eclectic love letter to the power of humanity.

Fleeing Earth after their failure to repay a bloodthirsty loan shark, loveable loser, Mickey Barnes (Robert Pattinson), and his frenemy, Timo (Steven Yeun), embark on a space voyage bound for the icy planet Niflheim. Here, Mickey becomes an—aptly titled—expendable, which requires him to repeatedly die and be re-printed anew, all in the name of scientific research. When Mickey 18 rolls out of the printer before 17 is even confirmed deceased, Bong starkly depicts the perceived disposability of workers. Pattinson perfectly embodies both the meek, moralistic Mickey 17 and his murderous new counterpart, who further evolve in the ensuing chaos.

Moreover, Mark Ruffalo’s hilarious portrayal of tyrannical failed-politician Kenneth Marshall, who leads the planetary expedition, is an appropriate caricature for the Trumpian era. Kenneth seeks to eliminate Niflheim’s native species, as he dreams of creating his “pure, white planet”, and though his wife, Yfla (Toni Collette), is truly responsible for sustaining his authoritative bravado, his red-cap-wearing personality cult don’t notice a thing.

The film culminates in its largest action sequence, which is potentially overambitious, yet Bong delivers character depth throughout that justifies lack of a trite Hollywood, action-film climax. Although it’s thematically extensive and leaves a few unanswered questions, Mickey 17 skilfully reveals the soul within the soulless and takes a triumphant stride against systems that exploit and subjugate. In an age of increasingly polarised politics, Bong demonstrates that cinema must not cower in response.

Image provided by Berlinale Press Photos