Mickey 17

Bong keeps things zipping along, and with such nimbleness that the movie’s heavier ideas never weigh it down. He jabs rather than pounds as he takes on targets — authoritarianism, comic-book heroics, the vanity of power — while playfully mixing moods and acting styles.

If Mickey’s life is suffocatingly bleak, Mickey 17 is anything but. Rather, it’s a wacky, satisfyingly strange romp that further reaffirms Bong Joon Ho as a singular filmmaker.

Even if DNA and memories could be duplicated at will, Bong suggests, individual morality would remain a glorious uncertainty principle, too human and singular to be nailed down. There’s a strange comfort in that idea, and in the movie’s sweetly hopeful finale.

If this is Bong’s take on a Hollywood space blockbuster, it’s better than most. “Mickey 17,” led by a quirky underdog, offers a timely escape where empathy can overcome cruelty on the other side of the galaxy.

As semi-inessential as Mickey 17 feels in Bong’s canon, I’m at peace that he keeps asking how to give everyone’s life value. He’ll keep repeating the question until we come up with an answer.

On the whole, though, Mickey 17 tests our patience. While the dispensable clones premise is intriguing, and opens a door to the kind of socioeconomic commentary so signature to Bong, the film quickly grows distracted by other matters entirely.

Even an audience expecting very little would be underwhelmed by this meandering, snowy dud, which, for all its extravagance, at a reported $120 million budget, combines insipid messaging with witless comedy and a weak plot that gets resolved in a silly way.

I was locked in the whole time, such a wonderful romance, concept, acting, commentary, I had so much fun watching on the big screen. Thank you Bong Joon Ho

인간이 소모품으로 반복되어 살든 세상은 여전히 그런 식이지만 봉준호 감독은 그럼에도 언제나 그랬듯이 전형적인 방식으로 시의적절하고 날카롭게 바늘을 찔러댄다. 근데 그것이 단순히 소스였던가.

"Mickey 17" offers an absurd plot, where the main character constantly dies and is reborn, showing how a person is used as a consumable. Initially, it seems like a comedy, but as it develops, a dystopian message is felt. Pattinson plays convincingly, perfectly distinguishing his doubles. Visually, the film is weak - the spaceship and the colony look modest, limited to corridors and several rooms. A black comedy with an unnatural Happy End and an antagonist, exaggeratedly greedy, but an interesting idea.

Honestly, there’s no need to shout genius with every Bong Joon Ho film. It’s still a social and societal critique, like all his previous movies (The Host, Okja, Snowpiercer, Parasite). It’s kind of like watching the same film over and over. We’re not just talking about similar aesthetics, but really the exact same theme, which gets tiring, because if you take that away from the film, there’s not much left. Bong Joon Ho is basically Mickey 17 himself — a continuous copy of himself, always serving us the same thing without trying to reinvent, without trying to become his Mickey **** initial theme had potential, but in the end, it’s just a backdrop. The film is long. Very, very, too long. Beautiful but boring, basically saved only by a typically Korean humor and style that excuses its empty moments.

Interesting premise but unenjoyable, not funny, and quirky. would pass on this,