(Image: Warner Bros. Pictures)
Most would agree that Bong Joon-ho is at his best when working in South Korea. Whenever he ventures into Hollywood, his signature "purity" always seems slightly diluted. This could be due to the constraints of the studio system or perhaps his own different vision for English-language films. I wouldn't call "Snowpiercer" or "Okja" major missteps, but they always felt like something was missing—prompting daydreams of how a few key tweaks could have elevated them to greatness.
With "Mickey 17," however, that feeling of regret has started to fade. Or, more accurately, it has diminished to the point of being almost unnoticeable. From the perspective of someone who has read the original novel, one can still spot simplifications in the plot and character development. But these changes don't detract from my overall fondness for the film. The movie's core "constitution" remains healthy and falls well within my definition of a good film. Furthermore, these adjustments feel like standard streamlining for a feature-length adaptation, successfully preserving the story's essential backbone.
(Image: Warner Bros. Pictures)
"Mickey 17" is classic Bong Joon-ho territory: the underdog taking on a totalitarian regime or a corporate behemoth. Yet, its tone is significantly lighter and more whimsical than his previous works. This allows you to fully enjoy how the story is filtered through Bong's unique style, much like appreciating an idol's star power. For instance, I've always felt Bong would be perfect for directing a traditional heist film. While he hasn't made one yet, his movies often feature heist-like sequences that are effortlessly cool and captivating, possessing a natural cinematic magic. Unsurprisingly, "Mickey 17" delivers another one of these brilliant moments.
Bong's flashes of heist-movie genius always feel incidental, as these sequences aren't the film's primary genre but are necessary for the plot—like the group effort to capture the monster in "The Host" or the highway rescue mission in "Okja." In "Mickey 17," it's the assassination attempt by Mickey 18 that creates chaos. He consistently captures the thrilling essence required for such large-scale scenes. Wes Anderson shares a similar penchant for elaborate chase and theft sequences, yet neither director has helmed a proper heist film. Seriously, the "Fast & Furious" and "Ocean's" franchises should give each of them a shot at directing an installment.
(Image: Warner Bros. Pictures)
However, as a comedy fan, what captivated me most about "Mickey 17" was Bong's masterful handle on its comedic tone (which is the film's main focus). This time, Bong isn't blending genres. Unlike "Parasite," which shifts between heavy drama, comedy, and soul-crushing tragedy, "Mickey 17" is a pure, straightforward comedy. While there are moments of anger and sorrow, the film's core identity is comedic. Even those darker emotions are often triggered alongside masterfully calculated comedic setups.
From a comedic standpoint, Bong's control over emotion and rhythm is superb. He doesn't ask the audience to switch moods; he wants them to feel annoyed and amused simultaneously, to pity the protagonist while also laughing at his exploited predicament. Bong's understanding of comedy and humor is richly layered and handled with extreme care. That said, his approach might not satisfy all viewers; some might even find the pacing drags. I feel the opposite. What could be interpreted as slow pacing is precisely why I love "Mickey 17." He had to direct it this way to achieve the right impact and allow the chemistry between the characters to fully ferment.
(Image: Warner Bros. Pictures)
Finally, I have to praise Robert Pattinson. Typically, I find casting a handsome actor as a loser-type protagonist to be a disingenuous choice. In reality, such characters are societal outcasts you wouldn't look at twice, but in movies, their image is glamorized by a heartthrob for box office appeal. Audiences who might otherwise ignore or even despise such people are suddenly idolizing and empathizing with them. But Pattinson is the exception. Anyone familiar with his personality knows he's a weirdo with a slacker's lazy charm—a weirdo who just happens to be handsome. So when he leans into that loser persona on screen, it feels completely natural. It's so authentic that his deliberately crafted Joe Pesci-meets-Steve Buscemi vocal delivery feels like a match made in heaven.
In conclusion, I genuinely loved "Mickey 17." It's my favorite of Bong Joon-ho's three Hollywood English-language films and, in my opinion, the most well-controlled of the trio (even if that's not the highest bar). From what I've seen, the box office prospects for the costly "Mickey 17" seem rather grim. If it does end up being a financial loss, I hope it doesn't derail Bong's future in Hollywood. The industry still needs fresh talent like him, and for certain stories, Hollywood is the only place he can get the resources needed to bring his vision to life.