Bong Joon-ho’s follow-up to “Parasite” is unfortunately, no awards contender.
The latest from the South Korean filmmaker is a dark sci-fi action-comedy centered on the character Mickey Barnes (Robert Pattinson). Needing to flee Earth because of a loan shark, Mickey boarded a spacecraft to a new planet, and took a job known as Expendable, where he does repairs in awful conditions.
In the case of death, his memories and personality has been downloaded, and his body can be recreated, allowing him to live on. The movie picks up with Mickey now on body 17 and surviving a dangerous incident where he should have died. As a result, an 18th Mickey is made. In doing so, their combined presence alters the course of the future for the a space colony.
More than five years after helming the Oscar-winning, sociopolitical film “Parasite,” Joon-ho returns with another class-centric picture, but the results aren’t nearly as strong this time. “Mickey 17” is, unfortunately, quite the downgrade.
This is a messy picture that’s poorly paced with an oddly developing story. Rather than having a well-structured plot, “Mickey 17” seems to just bounce around aimlessly. At one point it seems like the film will be a competition between the 17th and 18th Mickeys, then there’s short-lived relationship drama and later it turns into a sort of loose revolutionary piece.
It just doesn’t feel like much is being built narratively as the film meanders from plot point to plot point with little urgency or coherency. It’s such a contrast to “Parasite,” which really had a driving force in the narrative from start to finish.
As the movie continues on, one stars to get the sense that the reason it’s lacking in a compelling, consistent story is that Joon-ho made too big of a commitment on the social commentary end. It is laid on thick here. The leader of the colony, Kenneth (Mark Ruffalo), is such a clear stand-in for President Donald Trump to the point his followers wear red hats.
Political satire and class ideas have long been interwoven with Joon-ho’s work, from “Parasite” to “Snowpiercer.” His films were never subtle about it either, but he often implemented it in good, clever ways that naturally fit in with what was taking place on screen.
One can appreciate Joon-ho’s commitment to taking on issues of class and political leaders who play on fears and have selfish aims. However, it’s done to such a ridiculous degree this time around that it’s hard to take seriously. On the one hand, that’s kind of the point because some of it is played for comedy.
The problem is a lot of the humor falls flat. Then during the moments where things actually get dire, it’s hard to really feel the gravity of the situation. They just don’t always work, and the same is true with the main character(s). Pattinson is fully committed to the concept, which is great. His performance gives the movie something a viewer can engage with.
However, the way the character is executed is odd. Mickey 18 arrives and he is basically the polar opposite of Mickey 17. While Mickey 17 is timid, reserved and by-the-books, 18 is aggressive, confident and willing to break the rules. It’s never explained why they’re so different, so it takes away from the film’s internal consistency.
As for the supporting cast, Naomi Ackie is fine as Mickey’s girlfriend and security agent. She convincing as one of the more level-headed characters in the movie and is probably the one who grounds things the most.
Ruffalo and Toni Collette, though, suffer from the aforementioned over-the-top political portrayals. Also, Anamaria Vartolomei comes into the picture as Kai, who seems like she will be another central character, and then basically disappears.
It’s unfortunate because the premise certainly offers some promise and potential. Yet the heavy-handed commentary, hit-and-miss attempts at comedy, a poorly developed story and character inconsistencies make this one more of a disappointment.
All the sci-fi stuff looks good and Pattinson has some strong moments keeping it from completely bottoming out. But still, it’s a weaker effort. 2.35 out of 5.
Matthew Liedke on Film 
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