Bong Joon Ho’s latest film, “Mickey 17,” brings audiences to a distant future where humanity’s survival depends on colonizing new planets and sending in clones to do the dirty work. The movie stars Robert Pattinson as Mickey, a down-on-his-luck gambler who volunteers to become an “Expendable,” condemned to die repeatedly on a hazardous mission to the ice planet Niflheim. Adapted from Edward Ashton’s novel, the premise is wild enough to hook any sci-fi lover. Yet despite its entertaining flair and Bong’s trademark audacity, “Mickey 17” doesn’t quite reach the heights of his very best work.
The story hinges on Pattinson’s character, who signs away his autonomy to the corporate authority running the expedition. Every time Mickey perishes on a task too perilous for the rest of the crew, a fresh version of him is printed in a surreal, sometimes darkly funny process. The problem arises when an accident leaves Mickey 17 roaming the ship, only to discover that a newer iteration, Mickey 18, has already replaced him. Pattinson embraces the challenge of depicting two distinct versions of one person, each with slightly different memories and personalities. He leans into the bizarre humor of Mickey’s predicament, and his performance often saves the movie from potential sagging moments.
Bong’s ability to blend tones remains intact. Much like “Okja” and “Snowpiercer,” “Mickey 17” juggles grim reality with absurdist comedy, reflecting on consumerism, waste, and elitist attitudes that endanger both human and alien life. The supporting cast, which includes Mark Ruffalo and Toni Collette as a power-hungry couple, amplifies the satirical undercurrent. Their over-the-top portrayals may not be for everyone, but their outrageousness underscores the film’s commentary on how far individuals might go to protect their status or profit from interplanetary ventures.
What sets “Mickey 17” apart from Bong’s earlier films is also what keeps it from standing among his finest. While it introduces provocative questions about identity and mortality, the narrative sometimes gets lost in spectacle and side plots. There are stretches when the movie feels cluttered or rushed, and a few promising threads never fully resolve in a satisfying way. Perhaps Bong is aiming for a controlled chaos that mirrors an overextended voyage into the unknown, yet the result can be frustrating for viewers longing for the razor-sharp focus of “Parasite” or the claustrophobic tension of “Snowpiercer.”
Still, it’s hard not to admire Bong Joon Ho’s fearlessness. Even if “Mickey 17” is not one of my favorites from him, I love that he’s exploring different genres. His willingness to take risks ensures he never truly disappoints, and there are plenty of visual flourishes to remind us of his unique perspective. Certain scenes deliver unsettling humor and genuine awe, especially when Mickey contemplates the existential crisis of repeatedly dying and reawakening. Bong keeps the camera lingering on those moments just long enough to evoke the dread and absurdity of forced immortality.
In the end, “Mickey 17” is a mixed bag that still manages to entertain. Bong Joon Ho’s satirical style and Robert Pattinson’s dual performance anchor a film that probes intriguing ideas about humanity and expendability, even if it stumbles in its final act. It may not be among Bong’s greatest achievements, but “Mickey 17” reaffirms that his imagination is as boundless as ever, and he remains one of the few filmmakers today unafraid of pushing boundaries—even when the end result is as messy as it is ambitious.