Mickey 17 (2025)
Sadly, the latest movie from the acclaimed director, Bong Joon-ho, is an incredible disappointment—nowhere near as good as his previous films. Mickey 17 is based on a novel by Edward Ashton called Mickey7. Mickey 17 tries to blend existential questions with dark humour. But it fails miserably to offer us a cohesive or engaging experience. The story is set in a dystopian future. Robert Pattinson is Mickey Barnes, whose job requires him to die over and over again. Each time, he is regenerated and his memories are reinserted into his brain. Those who work like this are called “expendables”. Mickey is on a mission to colonise Niflheim—an ice planet. All of this is intriguing, but the way it is executed leaves a great deal to be desired.
Robert Pattinson gives a good demonstration of his acting range as he plays multiple versions of the Micky character. He is able to switch between a bumbling fool and a nihilistic clone. His acting is one of the very few highlights in what is otherwise a lacklustre movie. The supporting cast do the best they can, but the script is so weak it lets them down. Mark Ruffalo and Toni Collette, who play the villains Kenneth and Ylfa Marshall, respectively, are particularly disappointing. There performances as caricatures of authoritarian leaders are so over the top they feel out of place and undermine the story’s more nuanced themes.
Bong’s direction is usually a highlight of his movies. But this one feels unfocused and inconsistent. The pacing is so sluggish it drags on for over two hours and never really finds its footing. There are a few moments of brilliance, like the icy landscapes of Niflheim, which are breathtaking. But they are so few and far between that they don’t do much to lift the film overall.
Mickey 17 has a go at satire, but it frequently misses the mark. The jabs at capitalism, colonialism, and American politics are so heavy-handed and lack any subtlety that it’s almost like a different director has been behind the wheel compared to Bong’s other movies. And the humour falls flat most of the time. There is too much reliance on Mickey’s repeated deaths, hoping to get laughs, but this wears thin very quickly.
There is one area where Mickey 7 does do well—the production design. The ship of the colony and the alien world are superb. The detail is rich, and they feel lived in. This makes this future world believable. And the special effects, especially the way the 3D printing of the new Mickeys is done, are impressive, and they are seamlessly integrated into the movie.
The soundtrack, which was composed by Bong’s frequent collaborator, is eerie and atmospheric. But it doesn’t leave a lasting impression. The same goes for the editing. It’s competent, but does nothing to elevate the material. Nor does it help to clarify any of the muddled story.
Mickey 17 had so much potential. It raises interesting questions about identity, morality, and the nature of consciousness. But none of these important themes ever get fully explored. It just gets bogged down in convoluted plot twists and messaging that is heavy-handed. It’s a real shame that such an intriguing idea misses the potential so seriously.
If you are a fan of Bong Joon-ho or you like sci-fi, then maybe you might think it’s worth a watch. I’m both, but I struggled to get to the end of it. It is certainly nowhere near the brilliance of Parasite or Snowpiercer. Bong is usually a reliable filmmaker. But Mickey 17 is a serious misstep. It’s got a (very) few merits. But it’s ultimately disappointing and forgettable. Let’s hope he returns to his usual brilliance on his next movie.