Subtly is not necessarily the name of the game in Bong Joon-ho’s Mickey 17. His follow up film to the Academy Award dominating, Parasite, is his first fully English language film since 2013’s Snowpiercer (2017’s Okja is partially in English and partially in Korean), and one that lays out all of its intentions plainly for all viewers to see.
Like his previous 3 films, Bong’s social commentary in Mickey 17 is front and center. This time around he’s mixing the biting dark comedy of Parasite, the inventive science fiction world building of Snowpiercer, and the visually delightful creature design of Okja.
Said lack of subtly in Mickey 17 is far from a bad thing. The film’s overtly intentional messaging about political zealots and wealth inequality exploiting the labor class – physically, mentally, and economically (of course) – serves as the foundation for the film’s wonderfully goofy two hour and fifteen minute runtime.
It must be emphasized and reemphasized emphatically that this movie is meant to be goofy above all else. The characters are goofy. The scenarios they find themselves in are goofy. Even the high concept futuristic technology is fairly goofy.
The premise revolves around Mickey Barnes (Robert Pattinson), who reluctantly decides to join a space
expedition to colonize a faraway planet as an “Expendable” (aka someone willing to die and be re-cloned over and over again). The expedition is lead by a failed politician with a peculiar ability to galvanize support despite his clear incompetence and profound buffoonery. Mark Ruffalo plays the leader, Kenneth Marshall, with the over-the-top cheese typically reserved for a lesser film.
Mickey finds himself in a precarious enough situation to choose life as an Expendable due to the grossly selfish incompetence of his “best” friend, Timo. It should come as no surprise that Steven Yeun is more than capable as a comedic actor, but to actually see him pull it off here as the total sleezebag, Timo, is still relatively revelatory.
Once on the actual expedition, Mickey meets and falls in love with security agent Nasha (Naomi Ackie). Nasha’s love for Mickey stays true and strong throughout all that is thrown at them. In many ways Mickey 17 is a confidently simplistic love story about how great it is to have someone who loves every aspect (or version) of you.
As a protagonist, Mickey (particularly Mickey 17) is easily sympathetic due to his passive nature. He has very little agency and does virtually nothing to propel the narrative forward. Action happens around him and as audience members we watch him clumsily navigate all that occurs.
Pattinson’s depiction of the mild-mannered Mickey lends itself to a character we hate seeing awful things happen to. Unfortunately, most of what happens to Mickey can be categorized somewhere between unlucky and messed up. Pattinson plays him with sad puppy dog eyes, a lack of any real motivation, and a funny accent that I couldn’t quite place.
Mickey’s lack of agency isn’t unique to him as a character. Most of the male characters in Mickey 17 are fundamentally useless for one reason or another – often to great comedic effect. The women of the story drive the narrative, proving to be the ones with true resolve –for better or worse depending on the character. Toni Collette is brilliantly nefarious as Yifa, Marshall’s wife, and seemingly the true mastermind behind all of his evil workings.
Those expecting another Parasite are sure to be sorely disappointed by what Mickey 17 actually is. It’s more akin to Okja than any of Bong’s other works. However, it is undoubtedly its own movie. It’s certainly Bong’s funniest movie, which is a remarkably impressive feat considering he made it in his second language.
The universality of wanting to laugh at the stupidity of fascist ideology crosses language barriers. Frustration about the exploits of class inequality is not limited to the boundaries of a single nation. Bong Joon-ho’s films have always explored these commonalities of our humanity in one way or another. Mickey 17 is simply his most explicit take on all of these matters.
As a follow up to a Palme d’Or and Academy Award Best Picture winner, Mickey 17 is about all you can ask for from a filmmaker. This film is relentlessly committed to what it aims to be. There is a palpable sense that everyone involved, including the director and lead star, had an absolute blast making this. The movie is just as fun to watch as we assume it was to make.
Bong Joon-ho has earned his reputation as one of the best directors working right now. Mickey 17 is further proof that he should continue to be allowed to make whatever he wants to make, whenever he wants to make it, and however the hell he chooses to make it.
Mickey 17 was released in theaters nationwide on March 7, 2025.
