If you have followed Bong Joon-ho’s directorial career, from the monster movie The Host to his Oscar triumph Parasite, you know the man has made critiquing capitalism his cinematic mission. His films are rarely subtle. Instead, they function as bold, often blood-soaked indictments of systems that commodify human existence. What makes his work unique, though, is how he balances this heaviness with moments of genuine laugh-out-loud absurdity.
Enter Mickey 17, Bong’s latest English-language venture and arguably his most ambitious film. Bong continues his tradition of bleak futurism while pushing his aesthetic into new and sometimes awkward territory. This movie, adapted from Edward Ashton’s novel Mickey 7, throws everything but the kitchen sink at the screen. Imagine Snowpiercer’s class commentary, Okja’s corporate critique, and The Host’s unexpected warmth, all launched into space with a blockbuster budget. The result is a film that is budding and brilliant.
When Being Expendable Is Part of the Job
Set in a future where Earth has become uninhabitable (a familiar premise, but what isn’t these days?), humanity’s salvation potentially lies on a frozen planet that may support human life. A corporate-funded mission sends a crew of scientists, engineers, and one distinctly self-important politician aboard a spaceship.
At the bottom of this floating hierarchy is Mickey Barnes (Played by Robert Pattinson), who has signed up as the mission’s “Expendable”. His job is simple yet horrifying: die repeatedly so others do not have to. Each time Mickey perishes, his consciousness is uploaded to a new body, retaining his memories but accumulating the psychological trauma of multiple deaths. Pattinson’s portrayal of Mickey balances self-loathing with a dark sense of humour, creating a pathetic and endearing character.
Watching Pattinson die in increasingly absurd scenarios made me switch between laughing and grimacing, a tonal balancing act that has become Bong’s signature. But unlike the precision of his previous films, the comedy here occasionally feels disconnected and uneven. The thing is, Mickey 17 is an unapologetically messy and over-the-top ride. It is the kind of movie that makes you wonder how a studio ever greenlit it. Yet, it is a surprisingly sweet mega-budget space adventure filled with anti-capitalist, anti-colonialist, anti-everything-we-have-come-to-expect-from-Hollywood messaging.
The movie is not just a series of slapstick deaths. At its core, it is a story about self-worth and the ways capitalism reduces people to disposable commodities. Mickey’s willingness to sign up for such a dehumanising role speaks to how little he values himself. Pattinson’s portrayal of Mickey as guilt-ridden, sheepish and “idiotic” is an impactful showcase of physical comedy and quieter moments of dramatic existential horror.
Politics in Space: Subtle As a Meteor Shower
Mark Ruffalo, who plays fascist leader Kenneth Marshall, is the film’s most on-the-nose character. As the mission’s self-appointed leader, Marshall dreams of creating a “pure white planet full of super people”, and Ruffalo’s portrayal channels a particular president’s mannerisms and rhetoric with gleeful abandon. It is a performance that could easily have tipped into a straight-up Trump caricature, but Ruffalo keeps it grounded, just barely.
While Ruffalo’s performance is committed and hilarious, the character’s Trump overtones lack the nuance found in Bong’s best villains. The CEO in Okja and the wealthy Park family in Parasite were effective antagonists because they were not caricatures but were subtler embodiments of systemic problems. Our politician Marshall, by contrast, is indeed funny but lacking in a subdued complexity that would have made him a more compelling character. Instead, Ruffalo leans heavily into broad satire, which, while entertaining, diminishes the potential for more profound social commentary.
The supporting cast fares better. Toni Collette delivers in typical fashion, with a scene-stealing performance as Kenneth’s wife, Ylfa. She is manipulative, controlling and captivating, bringing a chilling intensity to the role that feels like a natural extension of her psychological thriller/horror background. Collette’s ability to infuse her characters with a whisper of unease is fantastic; I could see her tap into the lurking menace of her characters.
While the film occasionally struggles with tonal consistency, Collette’s performance stood out, proving why she is one of the most versatile actors. Ylfa may not be the film’s central character, but she is undoubtedly its most haunting thanks to Collette.
Visually Splendid but Thematically Scattered
Mickey 17’s production design is very cool; the ship’s industrial and claustrophobic corridors contrast beautifully with the expansive, frozen landscape outdoors. Director Bong’s insistence on practical effects gives the film a tangible quality that is often missing from modern sci-fi.
The visual splendour, however, sometimes overshadows the narrative. The film has big ideas about identity, expendability under capitalism, and the human cost of progress, but these themes do not cohere perfectly. Where Parasite felt like a well-constructed puzzle box that revealed its meanings layer by layer, Mickey 17 did not quite balance its ideas tightly enough.
A Good Bong Film, Not a Great One?
Despite its flaws, Mickey 17 remains a distinctly Bong Joon-ho film. It is politically charged, visually inventive, and unafraid to mix humour with horror. It’s an on-the-nose critique of capitalism that still resonates in an age of greedy billionaires and environmental collapse. The film explores what makes us human: our memories, our connections, and our capacity for growth. It also provides genuine emotional weight amid the spectacle.
Unfortunately, this film feels like a slight step backwards for those of us, like myself, who have enthusiastically followed Bong Joon-ho’s career. The sheer amount of narrative ambition dilutes the film’s impact and sometimes feels overwhelming rather than deeply emotional and intellectual.
That said, what sets Mickey 17 apart from other “message” films is its willingness to embrace the absurd. Bong does not want to make you overthink; he wants to make you laugh, cringe, and frown, sometimes all at once. It is a risky cinematic approach that will not appeal to everyone. The film’s goofiness, preachiness, and sheer audacity will undoubtedly put off some viewers. But for those willing to go along for the ride, Mickey 17 is a thrilling and satisfying experience.
Weird, Ambitious Sci-Fi – yes, please!
Mickey 17 is worth seeing for its determination alone. Few directors attempt what Bong does here: a big-budget sci-fi film that doubles as political satire and existential drama. It is an audaciously weird film that feels like the culmination of Bong’s previous work. For newcomers to his filmography, you will likely enjoy it! I give it three stars for a film that reaches for the stars, occasionally touches them, but ultimately remains earthbound by its ideals.
If you are in the mood for a film that is equal parts hilarious, horrifying, and heartwarming, Mickey 17 is worth a watch.
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