Mickey is dying to save mankind

What if the value of our life was measured only by our death? What if we were simply seen as a throw-away human, who we not see as human but as an expendable clog in the machine?

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In 2050, to escape a murderous loan shark, Mickey Barnes (Robert Pattinson) and his friend Timo (Steven Yeun) join a spaceship crew to colonise the ice-planet Niflheim. Timo becomes a shuttle pilot, while Mickey joins as an “Expendable”, a controversial job involving extremely dangerous tasks, with death resulting in a new clone of him with restored memories being created through a process called “reprinting”. During the voyage, a romance develops between Mickey and security agent Nasha (Naomi Ackie). – Wikipedia

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Before I get into Mickey 17, I want to mention that I saw this movie at the beginning of March, about a month and a half ago. This means my thoughts and feelings about it have dulled over time, and I don’t remember every little detail anymore.

More importantly, the most unique thing about Mickey 17 for me is the fact that I saw it in a cinema in Seoul. I’m not sure if it changed the experience for me, but for some reason, since the director and writer Bong Joon-Ho is Korean himself, seeing it in his native country felt special.

That being said, Mickey 17 is a fun sci-fi movie that, on the surface, is about clones and conquering a foreign planet, with a dash of love triangle drizzled on top. With Robert Pattinson taking on the role of Mickey, the movie gains a sort of loser-to-hero quality, which is always a fun experience.

For me, Pattinson suited the role of this unusual hero well, and I thought his comedic timing fit nicely with the tone of the movie. I appreciated that he also played a “damsel in distress,” emotionally saved by Nasha (Naomi Ackie) during the first half of the movie. Nasha’s character also felt promising—until the moment she took the 17th Mickey to bed, which shifted her character trajectory from decent to merely tolerable.

For me, there’s an integral part beyond the surface of Mickey 17 that turns it into a more complex movie about human nature.

Luckily, there’s a much more despicable character in Mickey 17 named Kenneth Marshall (Mark Ruffalo), molded after a certain president, who easily earns the title of worst character ever. His wife, Ylfa (Toni Collette), comes in a close second. They’re the politically driven couple who escape Earth and attempt to conquer the ice-planet Niflheim in hopes of ruling it. It’s essentially an Avatar-type plot, with Mickey positioned as the solution to all their problems.

This is ultimately where Mickey 17 falters. Its sci-fi-driven plot follows a formula that mirrors the familiar ups and downs of a hero’s journey. As a result, we’re not really surprised by the story nor its outcome. Bong simply reintroduces his own quirks and nuances into an already well-known narrative—and lets the actors shine.

That being said, I can’t let one thing slide. For me, there’s an integral part beyond the surface of Mickey 17 that turns it into a more complex movie about human nature. At its core, Mickey 17 asks important questions about humanity and individuality. It makes the viewer reflect on the value of life, the meaning of life, and the way we perceive the lives of others.

All of this is explored through the storyline and through Mickey’s inner dialogue, which gives us strong insight into his mental state. I found this refreshing because it’s been a while since I’ve watched a movie with a main character who is so depressed, cynical, and incredibly lost. That resonated with me deeply.

Right after walking out of the theater, I gave Mickey 17 a total of 4 out of 5 stars. Now, a month and a half later, the score feels closer to 3.5 out of 5. The movie leaves a good impact during its runtime, but it doesn’t seem to have lasting effects. I would even go so far as to say it toys with the idea of being forgettable.