‘Mickey 17’ Review: A Dopey Robert Pattinson Is Dying to Make You Laugh in ‘Parasite’ Director’s Disappointing Follow-up

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In the world of “Mickey7” by Edward Ashton and its big-screen adaptation with 18 Mickeys, having multiple Mickeys might seem appealing at first. But as the number grows to seven or eight, or even more unwieldy numbers like 18, the idea of endless copies of Robert Pattinson begins to feel tiresome. Bong Joon Ho’s directorial style is reflected once again in “Mickey 17,” a wildly humorous sci-fi critique set in a bleak future where Earth can no longer support life, colonization of other planets is necessary, and the success of a four-year mission to the ice planet Niflheim hinges on disposable human replicas known as Expendables.

Robert Pattinson has previously ventured through the cosmos, which he did in Claire Denis’ somewhat refined art-house film “High Life.” In this role, Pattinson simplifies his performance to match Bong’s large-scale grunge-inspired society portrayal. He plays a character so eager to flee from a merciless loan shark on Earth that he secures a spot on a religious ship bound for another planet, unwittingly enrolling in the Expendables program without thoroughly reviewing the terms and conditions. Essentially, by doing so, he agrees to have his body scanned and memories archived, allowing him to be duplicated and discarded whenever a malfunctioning replica encounters problems. This character is essentially Mickey 1, an early version of his role, who agrees to this arrangement in the original version.

The unrealistic scenario raises many doubts about its credibility – questions such as why he’s the sole Expendable and what they could accomplish with their memory-replication technology. Instead, in Bong’s direction, it triggers an unpleasant sequence of mishaps that result in nearly deceased Mickeys being thrown into the incinerator shaft to be melted down for recycling. In a whiny tone reminiscent of Steve Buscemi, Pattinson explains that each regenerated version is fabricated from salvaged debris – from ashes to trash, and then expelled again, appearing to have been produced by a massive 3D printer.

Bong’s disrespectful script reveals a lack of regard that the human team seems to have for The Expendables – and by extension, a lack of respect for human nature, as shown through humorous moments like when a careless technician fails to position the gurney correctly near the replicator, causing a limp Mickey to fall onto the lab floor after being printed. A different tech’s stumble over a cord during production could account for why Mickey 17 appears slightly less self-loathing than his counterparts. However, they are all set up to meet their demise, as Mickey is often placed in dangerous situations where the lives of his fellow crew members are considered too valuable to risk.

To truly enjoy “Mickey 17,” set to be released on Imax on March 7 by Warner Bros., following its premiere at the Berlin Film Festival two weeks prior, you should be prepared to find humor in various gruesome and bizarre scenarios dreamt up by Bong. These range from experimental vaccines to sampling air on an uncharted planet. This might seem like a twisted perspective coming from someone advocating a message of humanity, but that’s the central paradox of Bong’s style: He may not be as humanist as his followers believe, instead leaning more towards a blunt and satirical approach reminiscent of Paul Verhoeven’s “Starship Troopers.

For genuine fans of Bong Joon-ho, the film’s assertive tone and offbeat humor may remind them of the unique mix of sentimentality and skepticism present in the director’s two prior English productions: the zany vegetarian comedy “Okja” and the high-speed capitalist critique “Snowpiercer”. Regrettably, this is not the style where Bong’s vision truly shines. Although it deserves credit for its unusual nature (and the nearly black-and-white, future-noir aesthetic created by cinematographer Darius Khondji and production designer Fiona Crombie), a significant portion of “Mickey 17” falls short, becoming messy, loud, and didactic – paradoxically, qualities that make Mark Ruffalo’s deliberately Trump-like antagonist so irritating in this film.

Four years into the quest to settle another planet, the movie begins on Niflheim. Here, Mickey 17 finds himself deserted and near death inside an icy cave, left behind by Timo (Steven Yeun), his friend who led him into this predicament initially. Just before losing consciousness, Mickey catches a glimpse of what appears to be a large, shaggy armadillo-like creature – a mystery beast that Kenneth Marshall, played by Mark Ruffalo, has nicknamed “Creepers” due to their vague similarity to Lovecraftian creatures.

In the movie’s questionable moral code, Expendables were forbidden on Earth due to their controversial nature. However, it seems acceptable that they can be utilized and exploited beyond our planet, with Marshall – a disgraced politician transformed into an uncertain religious figure of the corporation-church managing the migration – having ultimate control over Mickey’s destiny. Oddly, legal regulations dictate that only one version of a person should exist at any given moment, which is the complete opposite of the “Star Wars” rule where numerous Stormtroopers are identical copies of the same obedient super-soldier.

Despite Timo’s belief to the contrary, the Creeper doesn’t take Mickey 17’s life. By the point when the nearly frozen survivor returns to the ship, a successor of Mickey has already been manufactured – implying that one of them must be removed. Although they share identical genes and memories, each new version possesses a slightly distinct personality. Mickey 18 exhibits a more aggressive demeanor, quickly asserting dominance over Mickey 17’s submissive character, which Pattinson hints at through his slouched shoulders and juvenile-looking bowl cut.

Initially, they’re at odds due to their shared desire for survival. They’re also drawn to Nasha (Naomi Ackie), an uninhibited rule-breaker on the ship who finds appeal in having multiple Mickeys to suit her needs. However, this arrangement hinges on Kai (Anamaria Vartolomei) not betraying them. Consequently, these two women make a self-serving pact to share these rogue duplicates. Meanwhile, Mickey 18 begins plotting a takeover.

The plot of the movie isn’t hard to understand, but it seems like the filmmakers intentionally make it more complex. As Ruffalo’s character, with his wavy Colonel Sanders-style hair, bright white dentures, and inconsistent accent, becomes increasingly dictatorial during his space mission, his manipulative wife Ylfa (played by Toni Collette) is always lurking in the background, fueling his tyrannical behavior. She encourages his worst impulses, such as his belief that Creepers pose a threat and must be wiped out, while also indulging her own obsession with sauces. The couple reminds one of the flamboyant corporate villains portrayed by Tilda Swinton and Jake Gyllenhaal in “Okja,” with their extravagant costumes and exaggerated acting styles. Director Bong may argue that our current world isn’t less absurd, but it certainly is exhausting.

In Ashton’s book, the author presents a version of Mickey with ten fewer copies, which Bong then increases to seventeen in his interpretation, subjecting both character and icon to various trials. Robert Pattinson shows great adaptability by portraying such a pitiful character, challenging the stereotype that “Twilight” fans have of him. For much of the movie, he seems trapped in a repeating pattern reminiscent of “Groundhog Day,” where Mickey is fated to live the same unfortunate life over and over again, while enduring repeated intrusive questions about death.

In essence, contemporary science has developed a form of cloning technology that works with groups of stem cells instead of fully grown bodies with memories. This method avoids subjecting humans to the distress associated with the process. However, placing Robert Pattinson’s brooding visage on this phenomenon doesn’t necessarily alter our perception of it. While the movie explores familiar themes such as criticizing social class disparities and advocating for empathy towards all beings, it remains unclear if any meaningful parables can be derived from Bong’s darkly humorous fable. A single viewing is arguably sufficient.

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2025-02-15 21:17