Mickey 17 (2025)

I’m almost ashamed to say that I hadn’t seen any of Bong Joon-ho’s works until this past week with my first watch of “Parasite,” his masterclass social commentary about the evils of capitalism amidst a poor v. rich struggle. It’s almost unbelievable that its 2020 Best Picture win was 5 short years ago, preceding a global catastrophe that has had global implications. What I mean to say, perhaps, is that the world has gotten even worse in a short time, but we still persevere on nevertheless. This is true with Bong’s latest flick, “Mickey 17,” which sees Robert Pattinson (“The Batman,” “Tenet”) play an expendable worker who’s sent to outer space to colonize an unknown ice planet. While not as strong in thematic weight as anticipated, Mickey 17’s distinct satirical script still makes for a commendable effort from a true auteur. 

Despite many shortcomings, the heart of “Mickey 17” is in grade-A talent giving corny yet likable performances. The titular Mickey Barnes is played as 2 characters by Pattinson; Mickey 17, a clumsy and corny everyday worker who’s all the likable; and Mickey 18, a brooding, gruff disruptor who eventually grows to be a protector. Some of the film is aided by narration from 17, and I found myself chuckling at most of the lines present, especially the tangible backstory of why he’s in space. 

Mark Ruffalo, who I see less as the Hulk with each day, does wonders playing politician Kenneth Marshall, embodying a lack of foresight and forgiveness all too common in today’s global ecosphere. His ignorant, self-feeding, and maniacal nature serves to make for a perfect antagonist, one that serves to reinforce central themes and remind us of the perils of modern-day authoritarianism. 

Adapted from a novel, Bong’s directorial style feels less evident here technically but still persuasive nevertheless. His cinematography on the ice planet Niflheim feels focused enough to see where action and characters are on screen, something requiring pure precision in today’s CG age. Additionally, the spaceship where the first half takes place is very compartmentalized and allows for tightly intimate camerawork that complements how mundane most of the journey is, opposite of the thrill expected by colonizing a new world. 

Noteworthy sci-fi has become all too rare nowadays with the change in audience tastes and studio hierarchy. Bong Joon-ho’s “Mickey 17” is a notable exception, delivering solid enough stakes in a film fan’s ideal package. Might not click with general audiences, but the risk-taking is still admirable nevertheless. 

My Rating: 6.5/10 🍿🍿🍿🍿🍿🍿

Where to Watch: In Theaters