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Mickey 17 is a disappointing Hollywood flick disguised as a film
Remember Bong Joon Ho’s Parasite? It was a visually and intellectually compelling piece of work that challenges class dynamics, while being engaging, intense, and surprising.
From this, I had high hopes for Mickey 17, especially as it made it’s international permiere at the Berlinale. Although, maybe I should have been wary when I saw Robert Pattinson headlining the movie. Nothing against Pattinson — he has tried to venture into serious films since his glorious Twilight start, but his acting seems to have remained at the same breadth.
This is not about whether or not he is a good actor though. No, Mickey 17 paints its characters as one dimensional, either good or bad, with no internal conflict, not struggle, no moments of doubt. And that make for a very boring yet very classic Hollywood blockbuster movie.
Even Mickey himself, in order to show his internal struggle, is split into two characters, each one dimensional. One could argue Mickey 18 ultimately shows some signs of change by the end of the movie by sacrificing himself, but that’s the extent of any character development.
Mark Ruffalo’s Kenneth Marshall and Toni Collette’s Ylfa are annoying, vaguely Trump like, and cartoonishly evil. There was potentially something interesting with Kenneth’s outwardly…
