Mickey 17

It’s such a bold, adventurous, scream of a film, but its queerness ends up dampened.

There’s a bit of on-screen torture in the sci-fi black comedy Mickey 17 but the unintended one, I assume, is being forced to watch four-time Oscar nominee Mark Ruffalo and Australia’s Toni Collette mush through two of the cheesiest roles imaginable.

I feel like it has the makings of a cult classic—a dystopian space comedy/adventure with shades of Terry Gilliam.

You wonder if there wasn’t an earlier cut that was much weirder, spiky and bolder.

It would be unfair to expect Bong to make another Parasite. He hasn’t. Neither is his new movie a disaster. It might be something worse. It is passable.

A typically dynamic production, with some great visuals and that more than meets the spectacular requirements of the genre it represents without overusing digital effects or trying to forcefully demonstrate how much it cost... [Full review in Spanish]

Bong offers a sci-fi premise that questions capitalism and immigration with a certain pretension, but, in general, its plot is excessively fragmented and the strength between so many chaotic characters is almost not evident. [Full review in Spanish]

It's all kind of weird and messy, I don't know if it sticks the landing, but the dynamic between Mickey and Nasha is really great and there's a lot fun to be had here with the bizarre experimenting.

The grey slop force-fed to the characters during their voyage to Niflheim illustrates the film best: it's nutritious but unsatisfactory. I'm still hungry.

Oscar-winning filmmaker Bong Joon Ho's (Parasite) raucous, wildly entertaining sci-fi comedy is a high-pitched, high-concept combo of slapstick and social commentary.