Movie Review: Bong Joon-ho's ‘Mickey 17’ is a timely dark comedy and sci-fi adventure

CEBU, Philippines — After winning Best Picture and Best Director for the South Korean drama thriller “Parasite”, Bong Joon-ho returns to the director's chair after six years with “Mickey 17”— a sci-fi tale of a man searching for his identity in an exploitative society, adapted from a novel by Edward Ashton.

Bong is no stranger to science fiction. He directed the 2006 monster film “The Host”, the Chris Evans-led “Snowpiercer”, and the Netflix-released “Okja” — all critically acclaimed films that propelled him onto the global spotlight.

With “Mickey 17”, he returns to the genre after the more grounded realism of “Parasite”, but as with all his works, there is timely social commentary from the filmmaker.

Now playing in Philippine cinemas by Warner Bros. Pictures, Robert Pattinson plays the titular character, a man deep in debt with his friend Timo (Steven Yeun) after a failed business venture. Fleeing from ruthless loan sharks, they escape from Earth to space by joining a mission to colonize the distant planet Niflheim.

Timo and Mickey part ways as the former  enlists as a pilot, while Mickey signs up as an “expendable” – a disposable worker assigned to high-risk missions. If he dies, he can simply be “reprinted” with his memories intact.

The primary version of Mickey that viewers follow is his 17th iteration, who survives a failed mission to retrieve a sample of the planet’s native creatures, the “Creepers”, who are actually harmless and save him from death.

Upon his return to the main ship, however, he discovers that his 18th variant has already been printed, leading to chaos since the two versions struggle to coexist as the ship prohibits multiple clones existing at the same time.

The film’s main antagonists are populist, egomaniacal politician Kenneth Marshall (Mark Ruffalo) and his equally manipulative, PR-savvy wife Ylfa (Toni Collette). Together, they rule over the ship’s population, orchestrating plans to fully conquer Niflheim at the expense of its native inhabitants.

The Mickeys aren’t the only ones in this struggle. His love interest, ship security officer Nasha (Naomi Ackie), stands by their side throughout their journey.

In typical Bong Joon-ho fashion, “Mickey 17” explores a handful of socio-political themes: the conflicts between colonizers and indigenous beings, the dangers of a society built on blind obedience, and the ethical dilemmas of scientific advancement, particularly cloning —wrapped in satirical dark comedy backed with smart writing from Bong.

Unlike the cynicism of “Parasite”, which examines the dynamics between two families from opposite ends of the class system, “Mickey 17” carries a more hopeful message. Its protagonist, though content with his circumstances, ultimately learns to resist systemic oppression when his fundamental rights are threatened.

Pattinson delivers an effortlessly entertaining performance, complete with a standout Minnesota accent — yet another surprising transformation for the actor known as Edward Cullen in "Twilight" and Bruce Wayne in "The Batman" (2022).

Also carrying the film is Ackie’s delicate yet strong performance as Mickey’s love interest, whose character remains fiercely loyal to him throughout the story.

Ruffalo shines in his portrayal of Kenneth Marshall, blending shades of Donald Trump and Elon Musk, while Collette revels in camp as Ylfa, a villain perfectly suited to her equally sinister husband.

What’s especially impressive about “Mickey 17” is Bong’s ability to translate his ideas across language and culture, proving that cinema is universal. His work demonstrates that any filmmaker, regardless of origin, can craft a sci-fi film that resonates globally.

It may not reach the same cinematic highs of “Parasite”, but “Mickey 17” is a fun, thought-provoking sci-fi dark comedy infused with Bong’s signature wit and social critique. With an entertaining cast led by  Pattinson, it’s a timely satire that only Bong Joon-ho could execute brilliantly. Four stars out of five.