Mickey 17 broadly satirizes capitalism and cult of personality

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Writer-director Bong Joon-ho (Parasite, Snowpiercer, The Host) adapts Ashton Edward’s 2022 sci-fi novel Mickey7 to the big screen, with Robert Pattinson as Mickey 17, an “expendable” clone worker whose body can be regrown after he dies, with his memories largely intact. On a dangerous journey to colonize an ice planet, he experiences multiple deaths … until something goes wrong. (137 min.)

Glen: This delicious satire skewers capitalism, colonialism, wealth inequity, class warfare, racism, and more. Mickey Barnes is a hapless loser who needs to get off Earth quick before a loan shark kills him. Essentially skill-less, he accepts the only space mission job that requires nothing—no education, special skills, nor talents. He just has to be willing to die over and over again. The mission is led by failed politician turned demagogue Kenneth Marshall (Mark Ruffalo), a very Trumpian leader: egomaniacal, unctuous, unethical, and empathy-free. Yet, Marshall’s got fanatical followers who think he’s amazing and live for his goal of making a new “white” society. Sound familiar?

Anna: I’m more and more impressed with Pattinson with every film. The actor has certainly outgrown his teen boy heartthrob Twilight (2008) moment to become a true acting force. Here he has an even trickier job, playing two versions of Mickey as 17 and 18; 18 has a harder edge, a “let the world burn” attitude, while meek Mickey 17 cares most about Nasha (Naomi Ackie) and getting to live a life where dying isn’t the headline. Ruffalo makes his character so sadly believable that it’s hard to watch, as does Toni Colette as his sauce-obsessed wife Ylba. The two are utterly disgusting, and adding to the effect is a set of white chiseled chompers that take up so much space in Ruffalo’s visage. His villainous character feels far too close to reality. Kudos to Bong Joon-ho for laying it out plain as day. Tough to watch in moments, but Mickey 17 has earned its accolades.

Glen: Pattinson is terrific and has come a long way from Twilight. He showed his range in The Rover (2014) and Good Time (2017), and proved he was one of his generation’s best with The Lighthouse (2019). His Mickey 17 is resigned and meek, and deeply surprised when he falls into an ice crevice and the planet’s native species, creatures that look like giant wooly pill bugs with weird mouths and wise elephant eyes, don’t eat him and instead carry him up to the surface, saving his life. Naturally, Marshall’s first thought is to exterminate the creatures. They’re clearly intelligent and live in an interconnected community. When one of their adorable babies is captured by the humans, they surround the space colony. It’s got a decidedly white settlers vs. Indigenous people vibe. One might argue that these satirical tropes are painted overly broadly, but the film works and is darkly funny. Despite all the human ugliness on display, it’s ultimately a hopeful film. 

Anna: Mickey doesn’t even realize the cute gigantic pill bug creatures saved him. At first, he takes it as just another rejection, like he isn’t even good enough to be eaten. However, when Marshall and his crew get their hands on some of the “creeper” babies, the underground animals soon swell to the surface in search of their youngsters. I don’t do well when even fictional animals get abused on-screen, so some of this movie was less than comfortable. However, the message reigns: Hate does not conquer, love does. Life is not dollars and cents, or expendable. I’m stoked to see Pattinson taking on these challenging roles, and I welcome more!

New Times Arts Editor Glen Starkey and freelancer Anna Starkey write Sun Screen. Comment at gstarkey@newtimesslo.com.

This article appears in Mar 13-23, 2025.