Bong Joon Ho‘s cinematic prowess is once again on display with his latest film, “Mickey 17,” a title that attempts to navigate the complexities of science fiction. Released with great anticipation, this movie, set in the year 2054, follows a group of desperate Earthlings aboard a spaceship bound for the distant planet Niflheim. Despite its ambitious premise, “Mickey 17” is a sci-fi endeavor that struggles to maintain a clear vision, mixing too many ideas and falling short of its predecessors like “Parasite” and “Snowpiercer.”
The narrative unfolds aboard a spaceship where Kenneth Marshall, a former politician portrayed by Mark Ruffalo, aims to establish a purist colony. His intentions, cloaked with the aid of his astute wife Ylfa (Toni Collette), mirror a certain political figure renowned for his orange hair and space colonization ambitions. This backdrop sets the stage for the introduction of Mickey, played by Robert Pattinson, a beleaguered character who boards the spaceship as an ‘Expendable,’ a unique role where he sacrifices his life for experimentation, only to be “reprinted” each time he perishes. As the plot develops, viewers meet Mickey No. 17, the iteration where the story gains momentum.
Despite the potential lying within this intriguing setup, certain elements of the film remain incompletely explored. The character Nasha, played by Naomie Ackie, emerges as an enigmatic ‘elite agent’ who becomes inexplicably drawn to Mickey. Her presence brings vitality to the screen, but the narrative fails to capitalize on the thrilling propositions she represents. A co-existence of Mickeys No. 17 and No. 18 opens the door for potentially adventurous twists, yet these avenues remain largely unexplored.
Bong Joon Ho’s storytelling takes an unexpected detour when aliens, immigrants, and existential reflections on identity enter the fray in the film’s final thirty minutes. While the visuals here are exquisitely rendered, these elements feel like tangents rather than integral components of the overarching narrative. Moreover, the tantalizing question posed to Mickey—”What does it feel like to die?”—is met with underwhelming simplicity as the only response gleaned from sixteen deaths is a mere acknowledgment of pain.
The film boasts a talented ensemble cast, including Steven Yeun, whose immense potential feels underutilized. His previous performances in “Beef” and “Minari” demonstrate a breadth of talent that remains largely untapped in this portrayal. Meanwhile, Ruffalo and Collette deliver performances that border on caricature, offering little more than surface-level engagement.
Ultimately, “Mickey 17” presents an assortment of fragmented and fascinating ideas, though its attempt to weave them into a cohesive whole remains elusive. The narrative threads that could have led to a more profound exploration of class and existence are overshadowed by characters that lack depth. Bong Joon Ho, known for his astute observations and incisive social commentary, encounters a rare stumble in this science fiction venture.
As the credits roll, viewers may find themselves reflecting on the artistic possibilities left unexplored. While Bong Joon Ho’s willingness to tackle grand themes is commendable, “Mickey 17” may resonate more as a cautionary tale about the challenges of combining diverse narrative elements into a unified cinematic vision. Only time will tell if Bong Joon Ho’s foray into this domain influences future works or prompts a return to more structured storytelling. The film leaves audiences pondering its potential while highlighting the inherent risks of ambitious creative explorations.
