Bong Joon-ho's 'Mickey 17' is entertaining, thought-provoking, but not director's best

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Bong Joon-ho's 'Mickey 17' is entertaining, thought-provoking, but not director's best

Published: 27 Feb. 2025, 17:06 Updated: 27 Feb. 2025, 17:15

KIM JI-YE
[email protected]

Audio report: written by reporters, read by AI

Still from director Bong Joon-ho's sci-fi film ″Mickey 17″ [WARNER BROS. KOREA]

Warning: The following article may contain spoilers.

[Review]

Six years after the Oscar-winning film “Parasite” (2019), director Bong Joon-ho returns with “Mickey 17,” a sci-fi blockbuster filled with a star-studded Hollywood cast and a grander production scale than his previous works.

With Hollywood A-listers, such as Robert Pattinson and Mark Ruffalo, and a large-scale collaboration with Warner Bros., the film solidifies Bong’s global recognition. In a recent interview, the director also mentioned that the casting process was surprisingly smooth — further proof of his strong standing in the international film industry.

But beyond the high-profile cast and impressive scale, how does the film itself hold up?

To put it simply: "Mickey 17" is a compelling and mysterious film that can be enjoyed on different levels — casually entertaining for some, while offering a deep existential rabbit hole for those willing to dive in. However, it may not be Bong’s best work.

Adapted from Edward Ashton’s 2022 novel "Mickey7," the film follows Mickey Barnes, an expendable employee that dies and is "printed" again after being sent to complete dangerous missions on Niflheim, a distant ice planet. The narrative takes a twist when Mickey 17, presumed dead, unexpectedly encounters Mickey 18, his newly regenerated successor.

The film features Pattinson, who leads the film as Mickey, supported by Steven Yeun as Timo, Naomi Ackie as Nasha, Ruffalo as Kenneth Marshall and Toni Collette as Ylfa, Kenneth’s wife.

One of the film’s recurring themes is death — with Mickey constantly dying and being regenerated. Other characters frequently ask him, “What does it feel like to die?” — a question that lingers with the audience.

Still from director Bong Joon-ho's sci-fi film ″Mickey 17″ [WARNER BROS. KOREA]

Though death is a heavy subject, Bong infuses his signature satirical humor, portraying Mickey’s numerous deaths in a surprisingly lighthearted manner. For instance, when exposed to lethal radiation in space, Mickey passively accepts his fate as his severed hand drifts past the indifferent crew members aboard the expedition ship.

However, the meaning of death shifts once Mickey 17 meets Mickey 18. According to the colony’s laws, an "Expendable" with a duplicate — known as a "Multiple" — must be terminated. For the first time, Mickey 17 begins to see things differently and fears death, with a desire to live that was absent before.

The film can be watched on different levels. On the surface, it’s an engaging survival story — about two versions of Mickey fighting to exist. But for those who enjoy a deeper analysis, Mickey 17 raises questions about society's systems, humanity and identity.

The governing structure that exploits Mickey as a disposable tool introduces a social and political layer, exposing the harsh reality faced by those that are powerless. The film also explores humanity by depicting contrasting attitudes toward Mickey — with some viewing him as nothing more than a resource, while others, especially Nasha, see him as a human entity.

Still from director Bong Joon-ho's new film ″Mickey 17″ [WARNER BROS. KOREA]

The clash between Mickey 17 and 18 ultimately leads to an existential question: "Who am I?"

One standout moment is when Mickey 17 meets 18. The previous version feels that his death will mark the true end of his existence, despite the presence of his reprinted version, Mickey 18.

While some might question the necessity of the romantic subplot included in the film, which is also present in the original novel, it ultimately makes "Mickey 17" more accessible to viewers who might otherwise find Bong’s works too cerebral.

One unexpected aspect of the film is its emphasis on love — a theme not commonly explored in Bong’s previous works. Some may even find the explicit romantic scenes surprising.

The relationship between Nasha and Mickey highlights the importance of support, especially in the most extreme circumstances. Bong has described Mickey 17 as “kind yet dumb,” making his need for emotional grounding even more apparent. Pattinson’s performance effectively conveys this vulnerability.

Ruffalo’s Kenneth Marshall, the film's antagonist, along with his wife serve as the clear evil force behind everything, embodying the themes of power and class conflict. While this straightforward approach prevents unnecessary ambiguity, it also reduces the film's narrative somewhat more predictable.

For longtime fans of the director, "Mickey 17" may feel like a typical Bong Joon-ho movie, featuring his trademark exploration of class struggles and power dynamics.

Still from director Bong Joon-ho's sci-fi film ″Mickey 17″ [WARNER BROS. KOREA]

The introduction of the Creeper, an alien species on Niflheim, also follows Bong’s tradition of creature creation. However, from the moment it appears, a sense of déjà vu lingers throughout, as it bears a striking resemblance to Bong’s previous creature creations, such as the super pig from his 2017 film “Okja” and the monster in “The Host” (2006). In a way, the Creeper combines the terrifying presence of the creature from “The Host” with the adorable charm of Okja. The cuteness pays off by the end of the film, as the baby Creepers, with their puppy-like qualities, bring a surprisingly emotional touch to the film.

So, is this over 2-hour-long sci-fi film worth watching? Yes, it is. But beware, do not expect anything too groundbreaking or completely new. While it showcases Bong’s mastery of storytelling and unique vision, it doesn’t necessarily push new boundaries in the genre.

The film is set to be released in local theaters on Friday and is slated to premiere in North America on March 7.

BY KIM JI-YE [[email protected]]