“Mickey 17” from Bong Joon-Ho is Bonkers in ways that made me happy at the beginning until I wore me and exceeded welcoming it.
The first movie for Bong since he won the Academy Award for his international success, “Al -Tufayli” (2019) is a kind of great abuses and ambition that a major studio will give only a person who found a monster and wanted to spend in his chips.
Although “Mickeny 17” is not bad, it is not a great work either. I am happy that I saw him on the big screen and there is a lot of individual moments that must be tasted, but sitting in the overall impressive failure to reach it is not something that I will do again soon.
Robert Pattinson plays the title of title, a citizen from the Earth in 2054, who ran out of luck and signs his stupidity and rights away by joining the space program. Mickey agreed that the “consumer” was a “gun”, a strait that exposes itself in danger in the name of research and exploration.
The upward trend is that Mickey can be cloned after every horrific death, despite what kind of life this? When an accident occurs and Micky somehow allows to avoid death at the hands of a strange type, referred to as “reptiles”, things become more complicated and dangerous to him.
In the corner of the movie in the wonderful first half, which balances the black comedy, the amazing visual effects, a nihilistic view of mankind, and at the center, the eccentric Patinson and interesting performance enough enough to provide the movie center.
Once we reach the main concept of the story (which the source of the source of the year 2022 has reached the “Mickey77”, written by Edward Ashton, to prepare faster), things explode. By the time when we reach an endless dinner scene, and the sequence of late generations, both continue for a long time too long, everything on the screen looks like a endurance test.
There is a lot here, and this is doubled in the offers made by Mark Rovalo and Tony Colette as the leaders of delusional religious worshipers in the space ship. Few of this would have made a long run, but both actors give the most appropriate turns to draw “Saturday Night Live”.
Instead of being as wicked, I liked to hate it, both actors offer a wide performance that I grew up.
The intended political spelling, thinking about the mentality of the sect and a sanding of colonialism is very heavy, I wanted “Mickey 17”, please, stop screaming in my ears and returning to being a tragic comedy on how people put in the value of the lives of others.
All promise of early scenes is not fulfilling, although many sub -charts (such as a love triangle, business with a loan shark, broken friendships, and even literally try at the last minute of horror injection) block the things that work.
Pong, in fact, a movie director, and there are elements here that will stay with me. However, the movie that reminded me of more than his impressive work group is not the exciting human story of the future “Snowpiercer” (2013) or the perfect mash for “The Host” (2006) but the semi -mixed Bong, which is “OKJA” (2015).
Although “OKJA” is a little better than “Mickey 17”, they positively share a hypothesis of the creature and become an unsuccessful contemporary message, as it is characterized by a reliable actor that rises (although the performance of Jake Gyllenhaal gives it in this movie, as is the case, it carries better than Razafie-Worty in “Mickey 17”.
Here is a moderate spoiler – the early “enemy” of Dennis Felinoiv (2013) is much better in exploring the risks of interviewing the double person, although the general details of the platform were better photographed in “Edge of Tomorrow” (2014) and “Code Source Code” (2011).
Both the studied “Moon” (2009) and the large and enjoyable “Oblivion” tower (2013) on “Mickey 17” by photographing similar ideas, but we were able to increase the narration with many supportive characters, and the enlarged scenes that do not work and explore the feature that does not require Jackhammer, and does not require messages.
Look, a wonderful movie that tells his story and made us talk about it indefinitely after we saw it, while the movie that forces us to feed us a blatant message, regardless of how much it is intended, like the director sitting next to us, and he is superior to a revolution in our ear.
There is some latter in “Mickey 17”, when all I wanted was to focus on the performance that Pattinson risks and its interesting character.
Given the number of ends this (everything wears a different kind and a pleasant barber indicates a reformulation) and the extent of the absence of a lot of this, it is no wonder that the date of the issuance ended quietly for years.
A part of me admires Gutzba Bong, Batinson and Warner Bruce to seek this cracked vision. The other part of me just wants to enjoy and watch “Edge of Tomorrow”.
Two stars (out of four)
