MICKEY 17 (2025) Review
Academy Award Winner Bong Joon-Ho is back with his follow-up to his critically-acclaimed Masterpiece, PARASITE. And the results do not disappoint. I wouldn’t describe the director’s filmography, especially within the last decade, of being nuanced. But I certainly would describe them, especially his English features, as being deeply earnest, messy, and existing in a field so outside the typical Blockbuster space. Though each made on a sufficient budget, Bong Joon-Ho is able to consistently prevail in relaying a singular voice in his work; a wholly sincere voice. And if SNOWPIERCER was foremost a social-satire and OKJA a call for environmentalism, MICKEY 17 serves as a perfect assimilation of both; all rounded out by yet another career-defining performance from Robert Pattinson. It’s a blockbuster with a beating heart at its core and a whole lot of personality. For some it may read self-indulgent. And for those who can’t mesh with its humor, may find its storytelling and themes a bit abrasive. But if you’re familiar and fond of Bong Joon-Ho’s narrative temperament, there’s a lot to be enjoyed here. Hilarious, occasionally thought-provoking, and with a deeply immersive dystopian setting - this is Bong Joon-Ho still doing what he does best. And it’s an absolute delight.
In 2054, Mickey Barnes (Robert Pattinson) hits rock bottom thanks to his haphazard best-friend and business partner Timo (Steven Yeun). In order to flee a loan shark that threatens to murder them, the duo decide to leave Earth entirely – enrolling in a space-crew whose mission objective is to colonize the planet Niflheim. Though Timo somehow manages to land the role of shuttle pilot, Mickey becomes an “Expendable.” Using banned Earth-technology, Mickey is able to be fully regenerated with his previous memories post-mortem; starting the chain of numerical Mickeys. As Mickey is put through many brutal deaths in order to improve the life of everyone onboard the spaceship, he grows distant to everyone except Nasha Barridge (Naomi Ackie). Their intimate relationship is what keeps Mickey going throughout the four-year voyage to Niflheim, hoping to attain a better future for the both of them. But once they arrive, Kenneth Marshall (Mark Ruffalo), a failed politician from Earth who leads the expedition, orders Mickey 17 to capture one of the Niflheim’s native lifeforms, dubbed “Creepers”, in order to study the species. 17 fails tremendously and is deemed dead onboard. Yet, while trapped underneath an icy chasm, he is saved by the Mother Creeper – pulling him out from underground. 17 believes he isn’t good enough to even be eaten, rather than understanding he’s been saved. As he stumbles back on the ship, he finds that he’s been reprinted yet again – this time in the form of the caustically violent Mickey 18. The two have a bit of a tussle and understand how different they are from one another yet – when Marshall and his wife Ylfa (Toni Collette) threaten the extinction of the entire Nifleheim species, they have to band together with Nasha to do what’s right.
There’s a leaner, punchier, and more Blockbuster-coded film buried within this specific cut; one that Warner Bros. actually had specifically made after this version tested negatively with audiences. I’m so glad this is the one that the studio decided to go along with. Bong Joon-Ho takes his time to fully immerse the audience into this familiar, yet deeply personal world and the characters that inhabit it. It doesn’t flow like a typical modern blockbuster; focused on its characters first before giving into the urgency of a narrative. And sure, when that said “urgency” arrives in MICKEY 17, it moves quickly. Yet, in Bong Joon-Ho fashion, he manages to make it feel perfectly idiosyncratic; all its quirks and oddities always feel part of its design, never a bug. Though I don’t think this ever reaches quite the emotional highs of OKJA, it never treads the genericity of SNOWPIERCER. MICKEY 17 is unequivocally Bong Joon-Ho; humor, action, blatant social-satire and all.
Pattinson steals the show, obviously – this is a star-vehicle intended to highlight his acting chops. Both Mickeys feel inherently distinct from one another, not only through voicework but each detail of their mannerisms. But the heart of the film comes from his chemistry with the wonderful Naomi Ackie, who, though new to the game, is able to keep up with industry legends Ruffalo, Colette, and Pattinson himself. Their romance feels so tender, so intimate, and never once falters in connecting with the bigger picture at hand; being able to fight and protect the ones you hold dear. The question of servitude versus survival plays a big hand in this sci-fi tale; one which 17 wrestles with till the very end. Bong Joon-ho very much shares his, not so subtle, feelings about late-stage capitalism and the “pioneers” that present themselves as the moral good when they value anything but. MICKEY 17 prevails foremost in its comedic antics but wouldn’t feel complete without the ethical tragedy at hand. If anything, it’s where the Oscar-Winning filmmaker triumphs; a perfect assimilation of Tragedy and Comedy. This is a sci-fi blockbuster much less focused on the spectacle at hand but much moreso about the humans and creatures that inhabit its world And it doesn’t hurt that the Creepers are just so darn cute.
MICKEY 17, as reported, may net a $100million loss for Warner Brothers – and it certainly doesn’t help that it's out on VOD less than a month from its theatrical release. There’s a larger conversation at hand about the state of streaming and the quality of multi-million dollar tentpole blockbusters but, when a film like this comes along, all one can do is appreciate that a singular voice shines through with a project of this caliber. Miller and Villeneuve did it last year as well. Peele did it in 2022. These kinds of blockbusters aren’t quite as common anymore, but they’re still around; defining what a large-scale production can look like when given creative control to those who truly want to push the industry forward. And sure, MICKEY 17 may be one of the weakest entries in the director’s stellar filmography, but it’s still an absolute treat to experience. Especially on the big screen.
