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Bong Joon-Ho has remained a subject of moviegoers’ conversations for his groundbreaking Best Picture Win for Parasite1 (2019) at the 92nd Academy Awards for his unique approach to visual storytelling. His English-language films, such as Snowpiercer (2013) and Okja (2017), incorporate heavy anti-capitalist themes that are necessary for American audiences to engage with.
In an interview about the universal reception of Parasite, Joon-ho stated that “we all live in the same country, it’s called capitalism.”2 His passion for these universal stories of class struggle and identity is reinforced by his latest film, Mickey 17 (2025).3 Mickey 17, which was released on March 7, 2025, and stars Robert Pattinson, Naomi Ackie, and Mark Ruffalo, explores the life of Mickey Barnes, an “expendable” who is killed in the name of science and reprinted over and over. Mickey’s simple existence grows complicated when a second version of him is accidentally printed, threatening his darkly comedic life. This science fiction comedy explores colonization and the dehumanization of workers.
Mickey 17 is a particularly comedic film for Joon-Ho and allows Robert Pattinson, who portrays Mickey, to let loose in a way moviegoers familiar with his more serious work haven’t seen before. Pattinson’s unique approach to acting and his ability to immerse himself in a variety of roles are highlighted by his dual role in the film. Joon-Ho’s impeccable direction and writing returns to the big screen, even if the film’s pacing is uneven at points. Mickey 17 speaks to the current political climate and reiterates Joon-Ho’s stance on class divide post-Parasite.
Bong Joon-Ho’s Sci-Fi Explorations On Earth & Beyond
Mickey 17 is the third of Bong Joon-Ho’s English-language films, which are all science fiction-oriented. Beginning with Snowpiercer in 2013, his approach to English-language filmmaking contains an important theme of the dangers of capitalism. Snowpiercer,4 which stars Chris Evans and Tilda Swinton, explores a train harboring the last of humanity after a substance meant to stop climate change thrusts the Earth into a deadly winter.
On this train, the poorest individuals live in horrible conditions in the back, while the front of the train contains the wealthy. The meaning behind the premise is immediately clear and exhibits the film’s core ideas regarding class divide in a literal way. His second English-language film, Okja,5 stars Swinton as well as Ahn Seo-Hyun and Paul Dano.
This film, in which a rare creature is stolen from its home and taken to the United States to be slaughtered, explores animal consumption and the sinister goals of corporations. Joon-Ho set his first two English-language films solely on Earth, but Mickey 17 is set in space.
Mickey 17’s production design explores industrial settings and the vast expanse of the planet Nifleheim, which humanity is set to colonize. Juxtaposing the muted color palette of the spaceship with the bright white landscape of Nifleheim helps to convey the film’s question of whether or not humanity deserves to colonize a place that is doing just fine on its own.
The colonization aspect of the film is also explored through Mark Ruffalo’s character, Kenneth Marshall, a former politician who has turned to Christian-fascist values in order to gain support.
Joon-Ho uses Mickey 17’s characters to explore how workers’ humanity is taken by corporations and a religious “manifest destiny” approach to colonization. The idea of cloning a person already has very real moral and ethical implications, and Mickey 17 continues Joon-ho’s tradition of class critiques as well.
The film’s characters of Marshall and his wife Ylfa (played by Toni Collette), tyrannical politicians seeking a “pure” colony on Nifleheim, explores themes of Christian fascism not yet seen in an English-language film by Joon-Ho.
The themes of identity, Joon-Ho’s critiques of colonization, and Christian fascism create a beautiful and timely film. It is especially acclaimed due to Robert Pattinson’s impressive dual performance.
Double Duty — Robert Pattinson’s Dual Role In Mickey 17 (2025)
Having already cemented himself as a versatile star but continually surprising audiences, Robert Pattinson is the standout performer of Mickey 17. His role as Mickey 17 and 18 creates a particular challenge because he is largely reacting and talking to himself rather than another actor. In an interview with Associated Press released on February 26, 2025, Pattinson explained how he differentiates the two Mickeys through his performance in the film:
“My first thought, on pretty much the first read of it, was, ‘It’s like Ren and Stimpy.'”6
His performance as Mickey 17 and 18 does, in fact, exhibit aspects of cartoon characters like Ren and Stimpy; two opposing forces that are inextricable from each other due to the circumstances of the situation. He portrays Mickey 17’s cluelessness through physical comedy, often echoing Buster Keaton in his prime. This is juxtaposed with Pattinson’s take on Mickey 18, who he gives a maniacal and almost serial killer-like demeanor.
Pattinson sounds similar to his role in The Batman7 (2022; Matt Reeves) when portraying Mickey 18. His comedic timing with himself and subtle differences in each Mickey’s demeanor result in a groundbreaking performance. Pattinson’s performance and dedication to his dual role in Mickey 17 are clear signs that he has been redeemed in the eyes of Hollywood executives.
After films like The Twilight Saga franchise cemented him for many years as Edward Cullen, he redefined his career with films like Good Time8 (2017; Josh and Benny Safdie) and The Lighthouse9 (2019; Robert Eggers). Pattinson’s passion for acting has been evident throughout all his films, even Twilight10 (2008; Catherine Hardwicke).
Although some of these films have been financial and/or critical failures, his performance always stands out as a highlight. Pattinson also shines when working with his co-stars. His chemistry with them allows audiences to look deeper into Mickey’s relationships and how the actions of others inform his own. His partner, Nasha (played by Naomi Ackie), acts as his assertive yet deeply caring counterpart.
On the contrary, Mickey’s manipulative friend and coworker Timo (played by Steven Yeun) provides a core example of the many ways in which Mickey is used for the gain of others outside of his lethal occupation. These supporting performances boost Pattinson’s charisma while also being great additions to the film. Mickey 17 is a significant turn for Pattinson because his dual role allows him to express a new approach to performing.
His ability to retain expressive differences between Mickey 17 and 18 and tell a story about a downtrodden man who is fed up with being a lab rat shows how Pattinson has reached a new level of notoriety in his decades-long career.
How Mickey 17 Crafts A Thought-Provoking Sci-Fi Comedy
Bong Joon-Ho’s writing combines with Pattinson’s performance, the editing, and the score to craft a film that uses situational comedy to explore how outlandish its characters’ motivations and circumstances are. Joon-Ho’s writing and directing and Jinmo Yang‘s editing come together to create a generally well-paced and engaging film, even if it falters in the second act due to pacing issues. These issues are most noticeable following a chaotic scuffle that results in the two Mickeys and Nasha being exposed and captured.
Since the characters are confined to cells or bound until the third act, their inability to do anything slows the film down. Mickey 17 has roughly the same runtime as Joon-Ho’s other films but can feel considerably longer at this point, bogging down the middle of the film. This does not detract from general audiences’ enjoyment of the film, but fans of Joon-ho’s quicker-paced work in Snowpiercer and Parasite may find this less than acceptable.
The film’s score by Jung Jae-il emphasizes its comedic elements while also maintaining a subdued, jazzy aesthetic that gives the vast expanse of space a calm mood. Its jumpy, comedic tracks, which are used in scenes where the two Mickeys are fighting with each other or causing chaos on the spaceship, are juxtaposed with its more serene tracks. Jae-il’s composition leans into the chaos of Marshall’s colonization effort and the multiple Mickeys while setting a jaunty mood.
Mickey 17’s pacing presents a minor problem, but the film’s direction and score are marvels. While its editing and writing can noticeably drag out and make it feel longer than it actually is, Joon-Ho’s direction and attention to detail allow it to shine. The pacing issues are noticeable — in comparison to Joon-ho’s previous English-language films — but many impressive sequences make the film worth watching.
Does Bong Joon-Ho’s Mickey 17 (2025) Join The Ranks Of Parasite (2019)?
Mickey 17 is a great follow-up to Joon-Ho’s stellar Best Picture winner Parasite. The film explores Joon-ho’s core ideas of capitalism, class consciousness, and identity but uses its science fiction angle to focus on the dangerous prospects of cloning and intergalactic colonization. While Mickey 17 is visually and narratively different from Joon-Ho’s previous work, its comedic elements and poignant themes create an especially hilarious film.
Robert Pattinson’s dual performance as Mickey 17 and 18 is the culmination of his entire career and allows him to perform in ways not yet witnessed by audiences. His approach to character motivation, his expressiveness, and the inspiration he took from cartoon characters allowed him to let loose in a more slapstick way than in his previous work. The film’s supporting performances are just as good and work in tandem with Pattinson instead of against him, letting each actor shine in their own way.
The film’s pacing may be a bit too slow for fans of Joon-ho’s previous work, but its heavy-handed sociopolitical commentary is important to recognize and unpack. Understanding why humanity should care for each other rather than enable systems of oppression through art is more than necessary, considering current events. Bong Joon-Ho will always be an important filmmaker who explores anti-capitalist ideas, but his latest film is particularly poignant and will maintain relevance for years to come.
Footnotes
- Joon-ho, Bong. Parasite, NEON, 2019. ↩︎
- Hagen, Kate. “The Black List Interview: Bong Joon-Ho on PARASITE.” The Black List Blog, 11 Oct. 2019. Accessed 9 March 2025. ↩︎
- Joon-Ho, Bong. Mickey 17. Warner Bros. Pictures, 2025. ↩︎
- Joon-Ho, Bong. Snowpiercer. Radius-TWC, 2013. ↩︎
- Joon-Ho, Bong. Okja. Netflix, 2017. ↩︎
- Fauria, Krysta. “Robert Pattinson reminds audiences that accents are a signature of his performances in ‘Mickey 17‘.” Associated Press, 26 Feb. 2025. Accessed 10 Mar. 2025. ↩︎
- Reeves, Matt. The Batman. Warner Bros. Pictures, 2022. ↩︎
- Safdie, Benny & Josh. Good Time. A24, 2017. ↩︎
- Eggers, Robert. The Lighthouse. A24, 2019. ↩︎
- Hardwicke, Catherine. Twilight. Summit Entertainment, 2008. ↩︎