Jacked In Reviews ‘Mickey 17’ (2025)

We open on a partially frozen individual, Mickey (Robert Pattinson) – who has unfortunately fallen into a snowy crater of some sort. After being discovered by his “friend”, it seems that allowing Mickey to meet his demise – rather than going slightly out of his way to rescue him – is the more convenient option, as another copy can always be printed out. This isn’t their first rodeo, after all… what with currently being on Mickey 17.

Based on Edward Ashton’s Mickey 7, Bong Joon Ho’s (Parasite, Snow Piercer) politically charged, darkly comedic, deep space, sci-fi follows a sad sorry state of affairs by the name of Mickey Barnes. After getting on the wrong side of some debt collectors – and not wishing to be hacked to pieces by a double chainsaw – Mickey decides to flee Earth. Not being the brightest of individuals, the only position he is qualified for is that of an expendable. In a nutshell, the role requires the individual to subject themselves to fatal assignments regularly to better the exploration and research of his space-bound employer.

This allows Pattinson to showcase his amazing range within close proximity of, well, himself.

However, after jumping the gun slightly after one mission and assuming Mickey 17 had kicked the bucket, Mickey 18 is created, resulting in an illegal and highly frowned upon “Multiples” scenario… from this point on, damage control ensues. Although they are meant to be the same person, there are very noticeable differences between the introverted 17 and extroverted 18’s personalities. This allows Pattinson to showcase his amazing range within close proximity of, well, himself.

There is far too much of this world/universe to explore so instead we’re given little glimpses and satisfying nods throughout (a stair-climbing robot here, a sickly lab-grown-steak there) – allowing our imagination to fill in the blanks. Industrial and slightly Red Dwarf-esque are perhaps the closest descriptions for the movie’s aesthetic, but comparing it to other ship-based, sci-fi’s may be doing it a disservice.

Whether or not this is art imitating life… you be the judge.

The underlying political narrative of the story sees Kenneth Marshall (Mark Ruffalo), a man who possesses a few dictator-type qualities. He is an individual who sees everyone around him as dispensable – aside from his partner in crime, the sociopathic Ylfa (Toni Collette). As well as that he is socially tone-deaf, hellbent on being celebrated with an undeserving sense of self-satisfaction. Whether or not this is art imitating life… you be the judge.

It’s visually compelling and morbidly mirthful throughout…

The heart of the story is the inhabitants of the planet Niflheim, the (improperly named) ‘creepers’ who send a strong message of empathy come the closing credits. One thing is for sure, though: Bong’s usual style and social commentary are all over this movie from start to finish. It’s visually compelling and morbidly mirthful throughout, with numerous occasions seeing the plot go left at the traffic lights, away from the choices you’d generally find within Western cinema – and it’s most definitely to the flick’s credit.

A little on the nose at times but a delightful addition to the genre and Bong’s catalogue.

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