One can only imagine the burden of following up a film like 2019’s “Parasite.” Taking home four Oscars, including Best Picture, at the 92nd Academy Awards, “Parasite” cemented itself into film history and, with it, director Bong Joon Ho’s undeniable talents.
Against this backdrop, “Mickey 17” is a complete, yet pleasant, surprise.
Based on the novel “Mickey7” by Edward Ashton, “Mickey 17” follows Mickey “Mickey 17” Barnes (Robert Pattinson) who, while on the run from loan sharks after a failed macaron business venture with his “friend” Timo (Steven Yeun), signs up to be an “expendable” on a private space expedition aiming to colonize the planet Niflheim. As an expendable, he is tasked with extreme, and frequently lethal, jobs, but because his body and mind have been copied, the spaceship’s scientists are able to “reprint” him, thus bringing him back to life. The film follows the 17th iteration of Mickey, the first 16 having met grisly ends. After one mission, when Mickey 17 is assumed dead, the crew accidentally prints out Mickey 18. The two clash immediately, forcing Mickey 17 to reckon with his identity while trying to avoid detection as a duplicate.
“Mickey 17” is packed with ideas. Bong revisits the familiar themes of class, capitalism and environmentalism he explored in previous films like “Parasite,” “Snowpiercer” and “Okja.” With so many ideas at play throughout the film, there are moments that risk overwhelming the viewer and which can lead to certain ideas toeing the line of being underdeveloped. However, Bong masterfully keeps the film balanced, weaving together a near-seamless investigation of the human condition in the foreign setting of space. Despite the many layers of “Mickey 17,” its central and most compelling form is that of a coming-of-age tale.
Haunted by the memory of his mother’s death, for which he blames himself, Mickey 17 is a timid pushover who has no sense of self-worth. He’s a fascinating character who fears death yet chooses to accept it time and time again. It’s only in his relationship with Nasha (Naomi Ackie), a fearless security agent whose headstrong kindness embodies the best of humanity, that he begins to find life worth living.
During the press tour, Bong mentioned this idea of a transition into adulthood between 17 and 18. This notion is prominently reflected in the push and pull that defines Mickey 17 and Mickey 18’s relationship. If Nasha is the catalyst for Mickey 17 finding love and self-worth, then it’s in his confrontations with 18 that he finds out who he wants to be. Contrasted against the unnaturally aggressive Mickey 18, Mickey 17 is forced to reckon with his identity, finding himself in the process.
Alongside this exploration of identity, “Mickey 17” is full of Bong’s signature sharp humor. Bong’s familiar dark satire is most prominently found in Mark Ruffalo’s Kenneth Marshall, a failed politician who seeks to establish a colony on Niflheim — named for the Norse world of the dead — and Toni Collette’s Ylfa, Kenneth’s cruel and commanding wife. They serve as most of the film’s comedic fodder with their hyper-crafted appearances and narcissistic natures, much to the credit of Ruffalo’s and Collette’s incredibly energetic performances. While not directly crafted to resemble any specific individuals, the Marshalls serve as an amalgamation of current world leaders, creating a bitterly relatable reflection of the many failures and cruelties of today’s leadership.
The uniquely strange energy of “Mickey 17” is certainly a credit to its ensemble cast, who give consistently humorous, nuanced performances. However, there is no denying that Robert Pattinson is truly the star of the show.
Pattinson is no stranger to eclectic roles. His career has been defined by his natural excellence at bringing these characters to life, from his peculiarly wonderful acting in “The Lighthouse” to everybody’s favorite awkward vampire, Edward Cullen, in the “Twilight” series. In that vein, his unparalleled talent shines in portraying the two Mickeys, who are complete opposites of each other. With Mickey 17, he uses a distinct accent to convey introversion, embodying a meek, shy and fearful nature that stands in stark contrast to his job as an expendable who’s marked for constant death. As Mickey 18, perverse confidence exudes from his beady posture and harsh eyes, marking someone who has grown tired of the world and has a fierce bite to his bark. Yet, there is still a subtle softness to Mickey 18, a softness that grows into a strong love and cares for Mickey 17’s well-being.
There is no denying that “Mickey 17” is outrageously ambitious. While its unique peculiarity may not be for everyone, I would argue it’s one of Bong’s most heartfelt films — exploring the age-old question of identity with an incredibly fun, creative and charming lens that is so distinctly Bong Joon Ho.
