“What’s it feel like to die?” is the question asked repeatedly in the new satirical sci-fi thriller “Mickey 17.” The film took to theaters on March 7 and is the latest from esteemed South Korean filmmaker Bong Joon-ho.
“Mickey 17” follows Robert Pattinson as down-on-his-luck Mickey Barnes in the year 2054. In debt and out of options, Mickey applies to be an “expendable” on a spaceship with plans to colonize the ice planet Niflheim.
Mickey’s job as an expendable is to die in the name of science. He gets his body reprinted after each death with his memories and conscience reimplanted thanks to extraordinary science and the expedition’s lax morals. He is treated like a guinea pig for experiments on unknown illnesses, new painkillers, vaccines, various poisons — you name it.
On his 17th reprint, Mickey survives his death unexpectedly and returns to his room only to be met with himself already there. The two of them existing together is a “multiples violation” and could result in the permanent death of Mickey — no more reprints.
It is clear that Mickey 18 was reprinted with the spine that 17 and all the Mickeys before him never had. Mickey 18 is taking no nonsense from anyone, not even himself. He seems more aware of the dehumanization and humiliation that all his previous selfs faced at the order of the expedition leader, Kenneth Marshall (Mark Ruffalo). Marshall is the billionaire politician whose failed reelection led him to pioneer the project.
Based on what I saw in the promo for the film, I anticipated the main conflict to focus on the multiples problem — you know, Mickey 17 and 18. However, the film had more than that — humor, overarching political themes, silly CGI pill bug creatures and dealt with the ethical questions of expendables and colonization.
Not taking into account his diverse filmography, the range Pattinson displays in this film alone is outstanding. Just seeing Mickey 17 and 18 standing next to each other, you can tell they are two different characters with opposing outlooks on their situations despite having nearly the same exact life experiences.
The film is inherently a satire, funny in a way that isn’t glaringly obvious and doesn’t feel forced. It is clear that Pattinson took what he learned in the recording studio for his voice acting role in 2023’s “The Boy and the Heron” onto the set of “Mickey 17,” making his character and his voice charming to say the least.
The film also features outstanding performances from Steven Yeun, Toni Collette, Anamaria Vartolomei, Naomi Ackie and Ruffalo.
The world building and plot is decidedly complex in a way that isn’t overwhelming to the viewer. Evidently, any sci-fi film will need a good amount of context to justify its driving points — the use of Mickey’s inner monologue does a lot of the heavy lifting on this front.
The film has a minimum of three major plots that are all intertwined, and by the end, they are wrapped up with a hopeful, rather satisfying bow. The plot spotlights Mickey as an unlikely hero in more than one aspect — most of the marketing for the film uses the ambiguous phrasing “he’s dying to save mankind.” Not to mention, Mickey has meaningful character development throughout that guides his success.
Despite this film’s cohesive story and enthralling cinematography, it is not clear exactly why Mickey 18 slid out of the printer with a backbone. This fact left me wanting a little more of an explanation other than a passing comment about how each Mickey comes out slightly different.
It is no secret that it is common for works in the sci-fi and fantasy genres to be commentaries on political injustices and class issues or to be social critiques. The job of expendable is a clear reference to capitalism and how workers are seen as replaceable. Watching Mickey suffer repeatedly stresses this point as it becomes more upsetting seeing lives two through 16 begin and end.
One particularly upsetting scene depicts Mickey being told this life will only last 15 minutes, where the scientists experimenting on him barely give him time to regain consciousness before they are poking at his naked body.
“Mickey 17” comes at a time of intense international political strife. Ruffalo’s performance seems like a direct criticism of the current sitting U.S. president with the distinct way Marshall talks and his red-hat-wearing supporters.
Bong has said that Ruffalo’s character was not inspired by President Donald Trump. However, he has touched on capitalism and other social and political issues in his other works.
I think, whether this parallel was intentional or not, “Mickey 17” turns a mirror on those who bow down to injustices at a time when the world is beyond divided. The film asks us to root for the oppressed, giving them a positive ending and points at just who the oppressor is.
Political themes aside, “Mickey 17” is an exciting film from start to finish. There is a lot crammed into the film’s two hours and 17 minutes that I wasn’t able to touch on, yet contributes to its greatness. By now I can only hope that you’re dying to see “Mickey 17,” as it is definitely a must watch.
4/5 stars
jhammer@ramapo.edu
Featured photo courtesy of @markruffalo, Instagram
