Bong Joon Ho’s Big Sci-Fi Comeback ‘Mickey 17’ Leaves Critics Divided

Director Bong Joon Ho, who made waves worldwide with his Oscar-winning Parasite (2019), is back after a six-year hiatus. His latest film, Mickey 17, began developing after Parasite‘s success, with the script finalized in September 2021.

Press screenings took place in the U.S. and abroad around February 17; the reviews have been pouring in ever since. The reactions, however, are sharply divided. The Independent gave Mickey 17 a perfect 100, praising it as a sci-fi for the working class that follows a man’s journey toward self-acceptance. Over in the U.S., IndieWire hailed it as Bong’s best English-language film yet, calling it a fusion of the strongest elements from Snowpiercer and Okja.

However, the critical reception is not without its detractors. The Guardian scored the film 60, appreciating its visual splendor but lamenting that its emotional narrative loses steam as it unfolds. Meanwhile, Variety criticized it, stating, “Unfortunately, Bong Joon Ho’s vision doesn’t work well in this genre,” and described it as “sloppy, noisy, and preachy.” The harshest review came from the BBC, which called it “seriously disappointing for a Bong Joon Ho film.”

On closer inspection, these starkly contrasting opinions seem rooted in a few key moments in the film.

Variety‘s preachy label likely refers to a pivotal scene in the latter half. As the tension builds, Mickey (Robert Pattinson) is confronted by his lover, Nasha (Naomi Ackie), who passionately defends a mysterious alien called Baby Creeper, all while facing the tyrannical Marshall (Mark Ruffalo). While the scene is undeniably powerful, its long-winded dialogue and overt messaging about class inequality and anti-humanism come across as heavy-handed, especially when compared to the subtle and impactful moments of social commentary that made Parasite unforgettable.

Bong’s signature humor, often a hallmark of his films, is also noticeably toned down here. Despite the film’s 2-hour-plus runtime, the pacing never drags, but the moments of genuine humor are few and far between. Unlike the frequent bursts of laughter in The Host (2006), Snowpiercer (2013), and Parasite, Mickey 17 only elicits a couple of mild smirks. The film’s more didactic tone seems to stifle the opportunity for the dark comedy for which Bong is known.

That said, Bong’s cinematic brilliance shines through, particularly in the film’s latter half, reaffirming why he’s a Cannes Palme d’Or winner and a four-time Oscar recipient. At its heart, Mickey 17 is less a sci-fi spectacle and more a deeply moving romance. The film follows Mickey and Nasha’s love story, set in the year 2054 on a distant planet, where humans are treated as expendable test subjects and cloned upon death. Strip away the futuristic backdrop; they could easily be any modern couple facing life’s challenges. Mickey’s transformation from a timid man plagued by identity issues to a more self-assured individual, alongside Nasha’s strength and empathy, provides the film’s emotional core.

The alien creature, the Creeper, which dominates the film’s climax, is a standout element. The Creeper embodies Bong’s distinctive take on sci-fi, a bizarre hybrid of the monsters from The Host and the genetically modified super-pig from Okja.

The cast’s performances are exceptional. Robert Pattinson, in particular, is a revelation in his dual role, expertly portraying two contrasting personalities. His meek and downtrodden manner in one of his roles may even evoke memories of certain domestic actors, adding an element of familiarity for the audience.

With its eye-popping $120 million budget — enough to fund ten average Korean films — Mickey 17 is a clear testament to Bong’s Hollywood influence. It’s a bold move for the director and Warner Bros., deserving applause for its ambition and risk-taking.