Once Bong Joon-ho heard his name called for Best Director at the 92nd Oscars, everyone wanted to know what he would do next. His class conscious classic “Parasite” became the first foreign language film to win Best Picture. Now, six years later, his English language sci-fi film “Mickey 17” would have the impossible task of following it up.
Fortunately, Bong had Robert Pattinson, one of the best actors working today, at his disposal for a tale about clones and capitalism. Pattinson provides an incredible duplicate performance as Mickey 17 and Mickey 18, who is the subject of extraterrestrial exploitation at the hands of a nefarious corporation. As he gets cloned time and time again to help a corporation colonize a new planet, he leads a revolution against those in power to create a more equitable society.
“Mickey 17” does not come particularly close to matching the heights of “Parasite.” But, as I will ingeniously explain, that doesn’t entirely hinder the experience of watching Bong’s latest film.
And besides, following up “Parasite” is like if Francis Ford Coppola had to make a follow up “The Godfather.” Wait, you’re telling me that Coppola followed it up with “The Godfather Part II”? Nevermind, then.
‘Mickey 17’ isn’t as good as ‘Parasite.’ And that’s OK
“Mickey 17” continues Bong’s tradition of tackling class warfare. Pattinson’s Mickey clones must complete deadly tasks in order to serve the business and political interests of egomaniacal politician Kenneth Marshall (Mark Ruffalo).
In fact, the cloning program Mickey inadvertently signs up for is called the “Expendable” program. If you don’t think that has anything to do with how the corporate class views the working man, then you might have to watch more of Bong’s movies and read some Karl Marx while you’re at it. But Bong doesn’t stop there.
Food, like in all of Bong’s films, plays an important role in “Mickey 17.” Marshall’s wife, Ylfa (Toni Collette), wants to exploit the creepers for culinary purposes. Additionally, Marshall and his wife get luxury meals every day, while Mickey and his companions receive literal slop. Bong has always been fascinated with how food can reflect a class struggle.
Unfortunately, none of these elements feel new or unique to “Mickey 17.” Bong has focused on these themes and details for multiple films, including “Snowpiercer” and “Okja.” As the 2+ hour “Mickey 17” moves along, some of the familiar themes start to become a tad tiresome.
That being said, I can’t say “Mickey 17” didn’t work for me. Bong still knows how to make laugh-out-loud comedy from the proletariat’s exploitation. Pattinson’s lead dual performance is dynamite (more on that later), but the rest of the cast is just as exceptional. Ruffalo has perfect facial expressions for the bluster and messianic tendencies of a techno-fascist. Naomi Ackie, who plays Mickey’s girlfriend Nasha, also provides a strong sense of control throughout the film that grounds the film in its working man arguments.
So while “Mickey 17” may essentially be a case of literally having seen this movie before.
Real-world parallels in ‘Mickey 17’
The repetitive themes may be tiring relative to Bong’s other films. But one glaring element in ‘Mickey 17’ was how it portrayed many eerily similar moments to America’s current political power players.
For example, Marshall’s supporters wear bright red hats and Marshall, much like a certain tech billionaire did recently, pulls out a gesture that is generally referred to as the “Fascist salute.” In simpler terms, there is a clear parallel between Marshall and the men currently in the White House.
“Mickey 17” goes even a step further, where Marshall survives an assassination attempt from one of the Mickey clones. The shot from Mickey 18 even grazes a part of Marshall’s face. When I tell you that my jaw dropped in the theater when that scene happened, I can assure you I wasn’t alone.
None of this is to say that Bong had a crystal ball or just so happened to place in these elements based on last year’s events. The movie was in production for most of the decade and shooting for the film ended in January 2023.
All of these uncanny moments point to a key strength of “Mickey 17.” While all of the political upheaval from the 2024 U.S. Presidential election may seem new, fascism, capitalism and chaos being intertwined is nothing new. And while this may not be the most effective form of criticism, “Mickey 17” offers a stark mirror to everyone in the United States.
Pattinson is one of our best actors working today
Although Bong may not be at this thematic or stylistic peak in “Mickey 17,” one could make the case that Pattinson is. Following brilliant performances in “The Lighthouse,” “Tenet,” “The Batman” and his voice work in the English dub of “The Boy and the Heron,” Pattinson ups his game once again.
A dual performance where you basically play clones is no small feat. But Pattinson gives both the meek Mickey 17 and the edgier Mickey 18 their own distinct personalities and psyches. Pattinson can contort his body to truly represent the distinctions between his two characters. Plus, the film relies on plenty of narration, and Pattinson gives a unique voice to Mickey that quite literally sounds nothing like the real-life actor.
Pattinson has now come a long way from his “Twilight” days. Now far past a teenage heartthrob, Pattinson displays his range where he can be a brooding superhero, a goofy clone or even a scumbag like in the Safdie brothers’ “Good Time.” He has plenty on his plate in the coming years, including Christopher Nolan’s “The Odyssey,” and I can’t wait to see what he will bring to the table.
Final thoughts
One aspect of “Mickey 17” that truly does make it unique relative to Bong’s filmography is how hopeful that movie feels at times. Whether it’s “Parasite” or “Memories of Murder,” Bong has been best at being bitter and uncompromising.
While “Okja” has a happy ending, “Mickey 17” provides a framework for how humans have fascistic and greedy tendencies. But it does portray a spirit where people can overcome their oppressors, so the film does provide plenty to chew on even if it feels all too familiar.
