By: Hunter Montroy

Written & Directed by: Bong Joon-ho

Cast: Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette, Mark Ruffalo

The film industry has undoubtedly taken a beating in recent years. The 2020s haven’t exactly been kind to it, nor have the circumstances aligned in its favor. The rise of AI, the dominance of streaming giants, and the sheer difficulty of getting projects off the ground have made it increasingly disheartening for film enthusiasts, especially when some of the greatest filmmakers alive struggle to bring their visions to life.

Thankfully, Bong Joon-ho managed to fleece $118 million from Warner Bros. for this film, delivering a rare big-budget spectacle that we don’t often see anymore.

Coming off his massive achievement with Parasite, the 2019 Best Picture winner, Bong crafts a film that carries a somewhat familiar tone, once again exploring themes of class disparity and the harsh realities of human existence. Mickey unwittingly signs up to become an “expendable” to secure his passage off Earth, only to discover that the experience is far crueler than he ever anticipated. Additionally, themes of colonialism further enrich the film’s over-the-top satirical edge, particularly with the introduction of the planet’s native inhabitants, the “Creepers.” Bong’s vision largely works, as the film never feels off-mark, and its humor consistently lands.

One of the more amusing aspects of Mickey 17, especially considering its hefty financing from a major domestic studio, is Bong Joon-ho’s not-so-subtle jab at a Trump-esque character, played by Mark Ruffalo. If you’re unfamiliar with Bong’s grudge against Trump, look no further than his reaction to Parasite’s historic Oscar win, when Trump remarked:

“By the way, how bad were the Academy Awards this year? Did you see? And the winner is… a movie from South Korea. What the hell was that all about? We have enough problems with South Korea, on trade, and on top of it, they give them the best movie of the year. Was it good?”

In Mickey 17, Ruffalo plays a failed, incompetent politician who is heavily influenced by both his wife (Toni Collette) and his right-hand man (Daniel Henshall). He constantly looks to his wife for validation, struggles to articulate himself, and makes one disastrous decision after another. The dynamic between Ruffalo and Collette—playing the over-the-top “leaders” of this planetary colonization effort—adds to the film’s absurdity in the best way possible.

Of course, the standout of the film is Robert Pattinson, delivering one of the strongest performances of his career. The introduction of Mickey 18 allows Pattinson to showcase his range, bouncing between two completely distinct personas. Mickey 17 is clumsy and lighthearted, while Mickey 18 is serious and menacing. Pattinson’s ability to embody such drastically different characters within the same film is a testament to his immense talent. Every role he takes on feels unique, and here, he gets to flex that versatility twice over.

For all its strengths, Mickey 17 isn’t without its flaws. Some characters and story elements feel slightly underdeveloped, and the pacing occasionally falters. However, none of these issues significantly detracted from my experience. Sitting in a theater watching a Bong Joon-ho film shot by the great Darius Khondji in IMAX is a rare treat, and Mickey 17 delivers a thoroughly enjoyable ride. It may not be perfect, but it’s a damn good time.

Final Score: 8/10