Certain films manage to strike a nerve, whether by design or sheer luck. Bong Joon Ho's newest film exemplifies this in both respects; it's a hilariously perceptive sociopolitical sci-fi satire that succeeds in numerous ways. In an era of disposable entertainment, “Mickey 17” pushes this concept further by following the story of the title character (Robert Pattinson), who works as an "expendable"—a person tasked with evaluating the danger posed by new technologies and harsh environments on a future off-world colony. The somewhat unsettling term for this job arises from the fact that these individuals are considered completely replaceable, yet they can be recreated through a form of digital human replication, allowing for repeated versions of them as needed. However, life isn’t straightforward for Mickey when he becomes entangled in a series of complicated events involving an illicit duplicate, the unpredictable actions of a fanatical colony leader (Mark Ruffalo) and his self-centered wife (Toni Collette), the manipulations of an untrustworthy childhood friend (Steven Yeun), a ruthless loan shark (Ian Hanmore) from his past on Earth, and a budding romantic interest (Anamaria Vartolomei) who tries to interfere with Mickey's relationship with his girlfriend (Naomi Ackie), a determined security officer. The film’s various plot threads generally work well together (though some feel somewhat stretched or underdeveloped), combining into a cohesive narrative that typically keeps audiences engaged. This compelling story is enhanced by the film’s imaginative visuals, skillful editing and strong performances, particularly those of Ruffalo, Collette, Ackie, and Pattinson—the first role I've genuinely enjoyed from him. What makes this release especially effective, almost unintentionally, is its timing, originally slated for a year prior but delayed due to the SAG-AFTRA strike, which turned out to be fortunate. Considering the current turbulent sociopolitical landscape, particularly the actions of one prominent political figure, “Mickey 17” couldn’t have arrived at a more relevant moment. (I won't go into specifics here, but let’s just say that supporters of MAGA and evangelical conservatives likely won’t appreciate this film.) The movie also tackles several important social and cultural issues, such as how ordinary working people are viewed and treated today, with the concept of expendability taking center stage. Some may find these elements to be a bit heavy-handed or didactic, but that's often part of what makes satire effective, and the filmmaker doesn’t hold back. I’m also struck by how much of this was anticipated well in advance of present circumstances; it’s remarkably perceptive and poignant in its observations. It truly feels like a cinematic fable for our times—a rather harsh one, certainly, but a telling one nonetheless. Furthermore, if this release is indicative of what the films of 2025 will be like, I eagerly anticipate them after such a disappointing year at the movies. And regarding “Mickey 17,” let’s hope that everything works out as it should—both in theaters and beyond.

Source on TMDB