Review by Jon Donnis
Bong Joon Ho's return to science fiction comes in the form of Mickey 17, a big-budget, high-concept black comedy that aims to blend satire with spectacle. Based on Edward Ashton's 2022 novel Mickey7, the film stars Robert Pattinson as a disposable worker who, every time he dies on the job, is replaced by a freshly cloned version of himself. Set on the frozen frontier of Niflheim in the year 2054, the story is ripe for philosophical musings and political allegory. Bong's signature touch is unmistakable. But despite its promise and visual polish, Mickey 17 stumbles where it counts most.
The plot kicks off with Mickey Barnes and his friend Timo fleeing Earth to escape a dangerous loan shark. Mickey signs up as an "Expendable", a cloned worker sent on deadly missions so others do not have to risk their lives. His seventeenth version finds himself marooned after a mission goes wrong, but he miraculously survives, only to discover that a newer version, Mickey 18, has already replaced him. This setup offers potential for sharp humour and existential drama, yet it never quite finds the right balance.
What Mickey 17 does have going for it is scope. The cinematography is gorgeous, with stark, icy visuals capturing the loneliness and danger of Niflheim. The production design is first-rate, with high-tech interiors contrasting with the bleak alien environment. Bong's eye for detail is present throughout, and the classical piano-driven score adds a surprising elegance to the sci-fi setting.
Tonally, the film attempts to juggle many things, including slapstick absurdity, social commentary, and thriller elements. The result is uneven. The first act shows promise, building intrigue and layering in the concept of cloning, colonialism, and sacrifice. But by the time we reach the second and third acts, the structure begins to unravel. Scenes drag, pacing falters, and the tone starts to shift awkwardly between farce and melodrama. At 135 minutes, the film feels bloated, and the lack of tighter editing becomes increasingly apparent.
Robert Pattinson's casting as Mickey is a gamble that does not quite pay off. The role calls for someone more inherently likeable and comically offbeat. Pattinson brings a brooding intensity that feels at odds with the character's intended charm. His performance is committed, but misaligned, making it harder to connect with Mickey as the everyman caught in a bizarre system. With more levity and physicality in the role, the story's comedic undertones might have landed better.
The rest of the cast fares better. Naomi Ackie brings warmth and groundedness as Nasha, Mickey's romantic interest and moral compass. Mark Ruffalo delivers as the manipulative expedition leader Kenneth Marshall, while Toni Collette leans into her role as his power-hungry wife. Steven Yeun's turn as the morally compromised Timo adds some needed tension, though his character remains underdeveloped.
Character development overall is thin, and while the film has a lot to say about disposability, identity, and authority, it does not explore those themes with the depth they deserve. The idea of a man literally dying for his job is a potent metaphor, but it becomes muddled in a plot that is too busy trying to be everything at once.
Mickey 17 is not without merit. Bong Joon Ho's imagination is still one of the most daring in modern cinema. The film is filled with visually arresting moments and flashes of brilliance. But a muddled tone, flat characters, and overlong runtime prevent it from reaching the heights of his previous work.
In the end, Mickey 17 feels like a bold experiment that does not quite come together. There is a great film buried in here somewhere, and with a tighter cut and a more fitting lead performance, it could have been something special. As it stands, this is a rare misfire from one of cinema's most inventive voices.
6 out of 10
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