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In Mickey 17, Robert Pattinson plays a frozen meat-sickle. Those are not my words; theyre Pattinsons inside of the first 60 seconds of the movie, and theyre delivered to the audience with a nasally, conversational voiceover that sounds adrift somewhere between Steve Buscemi and Marisa Tomei in My Cousin Vinny. Absolutely everything about this performance and the movie it exists within is a choice. Theyre big ones too. Not all of them are necessarily the right call, and more than a few lead to creative dead-ends or cul-de-sacs. But pretty much from the jump, as you hear Pattinson wheeze in your ear while observing a tableau of his Mickey protagonist bleeding out inside of a snowy ravine, you know if you are in or if youre out.I, dear reader, was in. A day later, I still am. I went along with just about every oddball, eccentric, and defiantly anti-commercial impulse writer-director Bong Joon-ho indulged via his post-Oscar win. Indeed, six years after making the intimate Korean film that defeated Hollywood wisdom and won Best Picture, Director Bong has been lavished with Hollywood attention and what amounts to fuck you money. So now, on the other side of Mickey 17s completion, tongues around town are wagging about how irresponsible it was for Warner Bros. to give the director of Parasite and Snowpiercer a nine-figure check to make what turned out to be his most demented and bizarre science fiction comedy about the evils of capitalism to date.But frankly, I dont care. Its not my dollars and cents, and what they were traded in for is bold, original filmmaking with a studios resources and an artists indifference. Its weird, occasionally ungainly, and ultimately nothing short of captivating for every beady little tic, right down to Pattinsons latest weirdo waxing ironic about his impending frigid death at the start of the movieat least that would appear to be his fate until a CG wooly mammoth-looking monstrosity shows up to presumably take a bite out of ol Mickey.Like the film, though, this attention-grabbing start risks getting ahead of ourselves. So lets step back and explain why Pattinsons dim-witted hero can have such nonchalant indifference to his imminent ingestion. The Mickey who begins the movie, frozen and meaty, is not the original Mickey. Its not even a copy of a copy of the original. This is Mickey the 17th (hence the title), who is printed from the human waste, cadavers, and other unsavory organic matter discarded by a group of space colonists traveling through the cosmos.In the not-too-distant future, it would seem that rather than trying to save the Earth, humans have pivoted to the idea of leaving it to find a new planet to consume and squander. The colonists aboard the Nilfheim Project are one such group, following a fanatical and failed American politician with a god complex, Kenneth Marshall (Mark Ruffalo). A regular modern day Joseph Smith, Marshall has convinced a legion of followers, hangers-on, and the working poor to join him among the stars. This includes Pattinsons O.G. Mickey, who went to space as much to escape some loan shark debts as to see the universe. Hes so desperate to get off-world he even agrees to become an expendable, which is a fancy term for the guy on each ship who has his memories backed up on a hard drive and his body signed away to the Company. An expendable is a disposable, and renewable, workforce. A slave by another name.Due to odd religious restrictions, there can only be one expendable at a time. Once he inevitably die in grisly fashion while performing whatever suicidal task is placed before him, another Mickey is printed in the bowels of a ship and is fit for service. Which isnt to say Mickeys life is all doom and gloom. He meets a girl who he falls in love with on this voyage, and security agent Nasha Barridge (Naomi Ackie) seems pretty chill with the whole my boyfriend keeps dying and coming back as a different kind of clone thing. So she waits it out until we get to Mickey 17, who despite being left for dead in that aforementioned ravine doesnt actually die. He makes it to his colonist ship, even. Alas by then, he arrives to discover that they already printed another Mickey: the more aggressive and short-tempered Mickey 18. And as per, the law set down by zealots like Ruffalos Marshall, there can be only one.This is where things start to get really strange.Essentially a genre film expansion on the bit in Blazing Saddles where two racist overseers scramble to rescue a $400 handcart while leaving their Black employees to die in a quicksand pit, the politics of Mickey 17 are not subtle. They are, however, obliquely amusing. Told from the point-of-view of a protagonist who dies repeatedly in often gruesome and cruel ways, the gallows humor of Mickey 17 is as thick as the sight gags. Utilizing various montages and death sequences which would not be out of place in one of WBs old Wile E. Coyote cartoons, Bong couples sight gags of severed hands floating in space with sequences of Mickey 5 or 6 being encouraged to deeply breathe in all the bacteria on an alien world so that scientists on the ship will know what virus to develop a vaccine against.There is a mirthful meanness to Mickey that is curiously delightful. A lot of that comes down to the choice of Pattinson to play the various versions of the same character with a happy-go-lucky optimism that veers on delusion given each Mickeys lot in life. Yet more than a sketch comedy, Mickey 17 allows several versions of this character, particularly Mickeys 17 and 18, to have differences both subtle and overt. Whereas Mickey 17 develops something approaching empathy and self-awareness, he also is as another character suggests soft. Mickey 18, by contrast, has no awareness but enjoys a hell of a lot stronger survival instinct. His first reaction upon seeing his predecessor return alive is to immediately try and stuff Mickey 17 down a garbage chute that leads into a fire pit.Mickey 17 acts as a synthesis for all of Bongs genre movies of the past, including most obviously Snowpiercer with its dystopian view of the future (albeit he also seems to be channeling a lot more of Ridley Scott and Ron Cobb with the look of this space vessel). There are also the creature feature elements of The Host and even the pro-animal rights sympathies of Okja. It is not as neatly handled as any of those movies, and perhaps suffers the most from what appears to be a battle of wills in post-production. Based purely on the heavy emphasis of voiceover narration, and the bizarre absence of characterization regarding several supporting roles, particularly Ackies Nasha, one suspects this movie was cut down. Nonetheless, so much of what makes Bong movies unforgettable remains, including gonzo character choices which extend past the lead.Take for instance Mark Ruffalos amalgamation of every insidious, creepy inbred twitch of American conservatism past and present. His Marshall character has the self-serving Southern folksiness and preening piety of Billy Graham, the protruding veneers of a fifth generation trust fund kid, and the godlike aspirations of Brigham Young and his sizable harem of sister wives. Theres even some mouth-breathing followed in their red baseball caps aboard the ship.Join our mailing listGet the best of Den of Geek delivered right to your inbox!Its a performance every bit as peculiar and memorable as what Jake Gyllenhaal was doing in Okja, and through caricature gets to something bitterly true about a strand of leadership that humanity always covets. In this way, Mickey 17 represents the largest canvas Bong has painted on, with the film becoming an indictment for an entire species. Whereas Christopher Nolan in Interstellar envisioned humanity escaping the confines of Earth to go forth and multiply in space as a testament to our survival and problem-solving instincts, Mickey 17 approaches roughly the same idea with a cynicism that is hard to dispute. Wre locusts, it seems to say, doomed to repeat the mistakes and vanities of our ancestors. Forever.More importantly, however, is that if youre willing to meet it on this wavelength, the glumness becomes giddy entertainment. There is much that can be critiqued about Mickey 17s overabundance of story strands, which are not fully wrapped up in spite of an excessive denouement at the tail-end of 137 minutes. Yet the sum is greater than the parts. And it has been a decent while since a wildly talented director has had the resources to make a spectacle this ambitious and surprising. A benefit of Bongs narrative layering is viewers are never exactly sure what is about to happen next. To accountants, this could be a sin, but for those who like to be dazzled, it is most definitely a virtue.Mickey 17 is a rare curio: the type of galaxy-brained swing which only happens within the studio system when an auteur achieves a brief moment where no one can tell them no. Im a sucker for when these concoctions occur, warts and all. William Friedkins Sorcerer is a masterpiece even if the epic character study from the guy who made The Exorcist and The French Connection felt like it was a day late and a dollar short when it opened the month after Star Wars. And like Margot Robbie, count me among those who see a cult forming around Damien Chazelles Babylon bacchanal.Mickey 17 might have a lousy March, but this bizarre passion project feels destined to become someones favorite movie. For the rest of us, its a pretty wild night at the movies.Mickey 17 opens on Friday, March 7. 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