Mickey 17: Bong Joon-Ho’s Wild Sci-Fi Mess Fails to Live Up to Hype

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In a new project following the success of his 2019 Best Picture winner “Parasite”, director Bong Joon-Ho delves into the genre of science-fiction dark comedy with “Mickey 17“. This film, based on Edward Ashton’s novel, is not as captivating and ingenious as his critically acclaimed work, but it certainly offers a sharp social critique cloaked in futuristic elements. Bong’s unique blend of satire and commentary may not make for a perfect movie on its own, but it certainly holds an engaging conversation with the audience.

The movie ‘Mickey 17’ is as unruly and complicated as it is grand. Just like other films by Bong Joon-Ho, it brims with intricate concepts. It occasionally provides some good chuckles, but falls short of the humor it aims for. The lavish world Bong constructs doesn’t quite meet its potential. Regrettably, the storyline is overly prolonged and suffers from inconsistent pacing, ranging from hasty to sluggish. In essence, ‘Mickey 17’ is a grand chaos.

In a commendable performance by Robert Pattinson, he puts his heart and soul into portraying Mickey Barnes (Pattinson). Following the collapse of their joint venture, Mickey and his long-time friend Timo (Steven Yeun) are forced to flee from a ruthless loan shark. In a moment of panic, they make an unplanned decision – joining an intergalactic expedition bound for the distant planet Nilfheim to establish a colony. Timo secures a position as the pilot, while Mickey enlists in the Expendable program, not fully understanding its nature. Not the wisest move.

Mickey, referred to as Disposable, is frequently tasked with perilous operations that usually end in his demise. Here’s the twist: each time he meets his end, a contentious cloning technique – outlawed on Earth – is used to reproduce his body. The scientists retrieve his consciousness from their data bank (equivalent to a light-blinking brick) and prepare him for another mission in his newly minted body.

In this production, Naomi Ackie portrays Nasha, a security guard and a supportive romantic interest for Mickey. Her character exhibits unpredictable behavior, but Ackie’s acting is consistently strong. Unfortunately, Mark Ruffalo’s performance as Kenneth Marshall, a failed politician and self-absorbed narcissist leading the expedition, falls short. Ruffalo excessively overacts in his role, creating an overwhelming presence every time he appears on screen. This leaves little room for Toni Collette, who plays Ylfa, Marshall’s cunning wife, to shine with her humor.

Naomi Ackie plays a security guard named Nasha, who is Mickey’s love interest. She has an unpredictable character, but her acting is reliable. Mark Ruffalo, however, overacts as Kenneth Marshall, a failed politician and egotistical leader of the expedition. His over-the-top performance often overshadows Toni Collette’s funny character, Ylfa, who plays his devious wife.

In the second part of the story, it’s assumed that Mickey dies following his eighteenth iteration after a run-in with a native creature. However, they decide to create Mickey 18, not knowing that the seventeenth version is actually still alive. This leads to an unusual situation known as “multiples”. The movie then becomes a rollercoaster of events, jumping from one extreme to another, with plot gaps appearing everywhere. It tries to fill these gaps with explanatory voiceovers and forced humor, but ends up being overly lengthy and surprisingly unfunny instead.

While I’ve always admired Bong’s work and appreciated his distinctive visual storytelling and commentary-rich narratives, “Mickey 17” falls short of my expectations. The digital effects are mediocre, and the narrative, though occasionally powerful, is slow-paced and at times hard to follow. Even Mark Ruffalo’s compelling portrayal as a shrill televangelist, meant to convey Bong’s messages, pales in comparison to his previous, more incisive, and insightful projects.

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2025-03-07 20:21