Some spoilers, no major plot giveaways
As if Robert Pattinson couldn’t get any more versatile in his roles, he returns to the big screen as not one, but 18 different versions of his character in Oscar-winning Bong Joon-Ho’s sci-fi film “Mickey 17.”
Adapted from Edward Ashton’s sci-fi novel “Mickey7,” Joon-Ho’s first film since his 2019 Best-Picture winning thriller “Parasite” puts titular character Mickey Barnes (Robert Pattinson) in variably perilous circumstances amidst a backdrop of not-so-subtle political and social commentary.
In an effort to evade his problems on an increasingly uninhabitable Earth, Mickey signs up to be an Expendable on an ice planet-bound spaceship commandeered by failed politician Kenneth Marshall (Mark Ruffalo). Mickey soon discovers his role entails being a disposable employee, dangerously tasked with aiding in scientific research by testing the limits of human tolerance to life-threatening stimuli.
The concept of cloning, or in this case, a human-printer scenario gone wrong, is no foreign concept to sci-fi, but Joon-Ho’s quirky storytelling style and Pattinson’s skillful execution of playing a “double-role” justifies an engaging premise.
The film opens on Mickey 17 after having fallen into an ice crevice with Timo (Steven Yeun), his friend of questionable motives, looking down on him from above. Timo says helping Mickey out would be too much of a hassle and decides to leave his buddy to presumably be eaten by Creepers, the planet’s roly-poly-esque inhabitants.
Mickey even finds love in the form of Nasha (Naomi Ackie), a spirited, high-ranking enforcer on the spaceship who defends all versions of Mickey and advocates for his right to humane treatment. Mickey declares her as his one and only companion in the 4-year expedition to Niflheim.
Just as Joon-Ho is celebrated for his elaborate, tastefully vague commentary on capitalism and societal hierarchy in titles such as “Okja” and “Snowpiercer,” “Mickey 17” is no different, albeit veering on the side of wearing its metaphors too clearly on its sleeve.
Tonal inconsistencies between scenes create a lack of cohesion that even Mickey’s endearingly aloof narrations can’t remedy. One moment, you’re appreciating the skill Pattinson wields to seemingly transform across the 18 different Mickey’s, and the next Ruffalo’s portrayal of Marshall is going a bit overboard.
Even to a casual viewer, Kenneth Marshall is an obvious dig at a hedonistic dictator caricature, so much so that much of the political commentary lands flat on the nose.
Marshall and his wife Ylfa (Toni Collette) indulge in smorgasbords behind the scenes and swoon over delicate sauces while the rest of the crew consumes slop. The couple fantasizes over creating a planet of “pure race” and establishing dominance over the native fauna on Niflheim. All in all, Joon-Ho wants to make it abundantly clear that these are the bad guys. He successfully makes it quite clear, but whether the message will be hitting the target audience is up in the air.
RELATED: Romance is dead, but horror slashers are back with ‘Heart Eyes’
Yeun’s performance as Mickey’s self-serving friend Timo, while enjoyable, wrestles to find its place in the film. His introduction immediately screams plot device, with each scene consistently delivering on that suspicion.
Despite the pitfalls of most of the major characters during the ascent toward act three, Nasha holds strong as an unwavering heroine and voice against Marshall’s hollow advances toward annihilating the Creepers. Ackie served as an excellent co-lead with Pattinson, having palpable chemistry with each Mickey she shared the screen with.
Strong performances aside, the film struggles to decide what it is, often shifting between questionably humorous moments to clear-cut critique of authoritarian cruelty and environmental terrorism. The lack of a consistent score throughout makes it unclear when we’re supposed to laugh, or cringe, or both. Joon-Ho may have intended this juxtaposition as a way to critique the absurdity of modern politics, but it’s just as possible that it was disregarded entirely.
The third act lags after the first two, offering an unsatisfying conclusion to an otherwise compelling setup. Clear archetypes, tropes and plot allusion make it obvious where the film is headed, and by the time it reaches the climax, you’re left to wonder, “That’s the best they could come up with?”
Unfortunately, Joon-Ho’s momentum after his Oscar-sweeper “Parasite” may have cost him the clear head necessary to make “Mickey 17” all it could have been, as evidenced in poor screen tests and delayed releases.
However, the film’s positives still hold up to its flaws, offering a fun movie-going experience regardless of the tonal oddities.
Cinematically, the film is stunning, with visually pleasing sets and CGI that seamlessly blend into the environment, creating an effective sci-fi atmosphere. The camera angles are engaging as they shift between creative perspectives, making the audience feel like they themselves are in the cramped spaceship, or the vast expanse of Niflheim.
“Mickey 17” has a charming, wacky sense of humor that leans on political satire, making it an excellent watch for anyone looking to challenge their worldview.
Overall, those familiar with Pattinson’s other work will find this film worthwhile. From his teenage heartthrob breakout role as Edward in “Twilight,” to brooding in “The Batman” and even his role in Studio Ghibli’s english dub of “The Boy and the Heron,” Pattinson is an undeniably versatile actor who can blend into any role he is given.
This being said, Pattinson absolutely kills the role of Mickey, wielding all assets gained from previous roles to create a complicated, deeply despaired and proactively ashamed protagonist (with a very characteristic accent).
It’s overstuffed, overzealous and overindulging, but that’s exactly what makes this movie impossible to tear your eyes away from.
