Mickey 17

Mickey 17
Starring Robert Pattinson, Naomi Ackie, Mark Ruffalo, Toni Collette
Directed by Bong Joon-ho

Director Bong Joon-ho is best known for directing biting satirical work and high style that focuses on the underdogs of society and shows them as the true unsung heroes of mankind, as he's proven with his excellent works "Okja," "The Host," "Snowpiercer," and 2019's "Parasite," which made history becoming the first foreign film to win the Best Picture Oscar (which also earned Joon-ho a win for Best Director as well). With his follow-up, "Mickey 17," Joon-ho keeps his tone by telling the story of a simple man who repeatedly dies and is copied to protect mankind, while being controlled by a soulless, egotistical megalomaniac who wishes for ultimate control.

In the near future, Mickey Barnes (Robert Pattinson) and his friend Timo (Steven Yeun) are fleeing from a vicious loan shark by signing up to participate in a quest to inhabit a new planet named Niflheim. Mickey is a mild-mannered man with no real intelligence, and signs up to be the ship's Expendable without reading what it really entails - and what it entails is having his memories stored into an external storage while he participates in deadly tests to make sure the planet can be inhabited, and every time he dies he's copied with the same memories in a new body. After dying seventeen times, his 17th iteration is left for dead, but survives. When he returns to the ship, he finds that he's already been copied, which is a big problem because multiples are illegal and if found they'll both be killed permanently. With the help of his security agent girlfriend Nasha (Naomi Ackie), Mickey 17 must work with Mickey 18 (who is more aggressive and heartless) to save themselves and the creatures of the new planet from failed politician Kenneth Marshall (Mark Ruffalo) and his wife Ylfa (Toni Collette) who plan on exterminating the creatures and exterminating both 17 and 18 in the process.

Bong Joon-ho crafts another excellent film that pokes fun at the hierarchy of society while lifting up the common man, effortlessly blending all genres into one spectacular package that is not without its small flaws, but more than makes up for it with the inventive script, stellar set designs, and most importantly a crew of committed actors who shine in their relegated roles.

Robert Pattinson has successfully stepped out of his "Twilight" shadow and emerged as a continually underrated dramatic star that also has impeccable comedic timing, appearing in acclaimed films "The Boy and the Heron," "Good Time," "High Life," "The Lighthouse," "The Devil All the Time" and as the newest Batman in Matthew Reeves' "The Batman." He excels in his performances, and chooses meatier roles that accentuates his talent, and "Mickey 17" is no exception - in fact, he's able to do it twice. As 17, he is a mild-mannered man who just wants to be in love with his girlfriend and help out anyone who needs it, having a unique higher-pitched voice that's endearing, and is an all-around good person who gets abused by the system. When he's thought dead, he's copied as Mickey 18, and is able to play a darker role. 18 is mildly sadistic, ruthless, and bucks the system, so they're absolutely polar opposites that are both played by the same actor. He seamlessly flows from one role to the other, and the stellar special effects make it seem like he's really two different people.

Relying a lot on "Snowpiercer," "Mickey 17" also takes place in a desolate frozen wasteland with a crew of people living in a small, dark environment (thanks to Fiona Crombie's industrial gloom production design) while separating the rich from the poor. 17 and the other workers live in basic one-room domiciles, relegated to eating just enough to keep their caloric intake stable, and essentially are all "expendable" to the higher-ups. The new colony's leader lives in the lap of luxury, eating a buffet of fine foods, and his compartment is gold-plated with low-hanging chandeliers and exquisite rugs and furniture. The class disparagement is obvious, but unlike his other films, the low-lives don't seem to mind as a whole. This points to the current political climate in America, where the poorer people are being deceived by a man who says he's on their side, but really wants to make himself richer and more powerful (Joon-ho doesn't try to hide who he based Ruffalo's character from, as he's not an eloquent speaker yet charismatic enough to draw in masses of cultists who don red hats). 

Speaking of Ruffalo, this is his best role to date, starring as the egotistical Kenneth Marshall, a twice-failed politician who takes a crew to Niflheim to start a new colony. He wants to create a new world of genetic supremacy, and sees the creatures of Niflheim as vermin needing to be eradicated by any means necessary. He doesn't care about anyone other than himself and his equally vapid wife, and Ruffalo hams it up to excellent proportions (as does Toni Collette, who is always amazing).

The film does falter some with subplots that don't really go anywhere and pads the runtime, such as the introduction of Kai Katz (played admirably by Anamaria Vartolomei), who serves as a possible romantic entanglement for Mickey, but ultimately doesn't lead anywhere important. There's also Steven Yeun (who worked with Joon-ho on "Okja") that's criminally underused as Temu, Mickey's frenemy that has some shining moments but isn't seen too often. Still, these are small grievances set against an otherwise excellent outing filled with satirical humor, fun action, great performances and a duel leading role by Robert Pattinson who once again proves his mettle.

The Score: A+