「パラサイト 半地下の家族」で第72回カンヌ国際映画祭パルム・ドール受賞、第92回アカデミー賞では作品賞、監督賞、脚本賞、国際長編映画賞の4冠を達成したポン・ジュノが、ハリウッドで手掛けたエンターテインメント大作。人類発展を掲げる巨大企業の下、ミッキーは、命を落とすたびに新たな身体で再生する究極のミッションに就くが……。
製作費: $118,000,000 (177億円)
興行収入: $133,442,263 (200億円)
推定収支: $15,442,263 (23億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ポン・ジュノ
脚本: Edward Ashton / ポン・ジュノ
音楽: 정재일
制作: チェ・ドゥホ / ポン・ジュノ / Marianne Jenkins
撮影監督: ダリウス・コンジ
制作会社: Warner Bros. Pictures / Plan B Entertainment / Offscreen / Kate Street Picture Company / Domain Entertainment
FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/mickey-17-review-robert-pattinson-shines-in-bong-joon-hos-latest-genre-bending-adventure/ "Mickey 17 presents an intriguing sci-fi concept and raises interesting questions, even if it doesn't always explore them with the desired depth. Bong Joon-ho continues to demonstrate his mastery in blending genres, but here, the satire and lack of subtlety in the narrative end up limiting the emotional and philosophical impact of a story centered on sociopolitical themes like identity, technology, and colonialism. Nevertheless, with a star-studded cast led by an excellent Robert Pattinson and a captivating audiovisual style, the South Korean filmmaker reinforces his status as one of the most creative directors working today, delivering an experience that falls somewhere between fascinatingly hilarious and frustratingly superficial." Rating: B
Some movies have a way of hitting things right on the head, either intentionally or by happy accident. And such is the case in both regards in the latest offering from Oscar-winning writer-director Bong Joon Ho, a hilariously insightful sociopolitical sci-fi satire that knocks it out of the park in more ways than one can count. In an age of casual throw-away culture, “Mickey 17” takes this idea to an entirely new level by following the dubious exploits of the title character (Robert Pattinson), who works as an “expendable,” a human charged with determining just how lethal various new technologies and environmental conditions are in an off-world colony of the future. The ironic, questionable term for this profession is derived from the fact that its practitioners are considered wholly disposable in every sense of the word but are fully capable of being regenerated in full thanks to a form of digital human printing, allowing subsequent iterations of these beings to be created as often as needed. However, life isn’t quite so “simple and straightforward” for the Mickey expendable when he gets caught up in a series of complicated developments involving an illegal double, the whims of the maniacal cultist colony leader (Mark Ruffalo) and his self-absorbed wife (Toni Collette), the scheming of an unreliable, self-serving childhood friend (Steven Yeun), a relentless loan shark (Ian Hanmore) from his days back on Earth, and an aspiring romantic interest (Anamaria Vartolomei) who tries to get between Mickey and his girlfriend (Naomi Ackie), a passionate but badass security officer. The narrative’s various story threads blend well together (even if a few of them are a little stretched out or aren’t developed as fully as they might have been), but they collectively tell a well-integrated tale that generally keeps viewers riveted throughout. This captivating yarn is superbly supported by the picture’s inventive visuals, expert editing. and stellar performances, most notably Ruffalo, Collette, Ackie and the first-ever portrayal by Pattinson that I’ve actually liked. What makes this offering especially and somewhat inadvertently effective, however, is the timing of its release, which was originally scheduled for a year ago but was delayed due to the SAG-AFTRA strike, a truly fortuitous blessing in disguise. Given current conditions in today’s turbulent sociopolitical climate, particularly the unpredictable leadership of one particular politician, “Mickey 17” couldn’t have debuted at a more pertinently appropriate time. (While I’ll spare the specifics here, let me just say that MAGA fans and evangelical conservatives probably won’t find this picture much to their liking.) In addition, the film deftly addresses a number of pressing social and cultural themes, such as how the average, everyday working class individual is looked upon and treated these days, the expendability question coming front and center. Some might see these attributes as somewhat heavy-handed or preachy, but then such “excesses” are the essence of good satire, and the filmmaker holds nothing back here. I’m also amazed that all of this was foreseen so far in advance of the emergence of current conditions, decidedly prescient and poignantly relevant in its insights. Indeed, this is genuinely a cinematic fable for our times – a rather scathing one, to be sure, but a damning fable nevertheless. Moreover, if this release is any indication of what 2025’s crop of new pictures will be like, I warmly welcome it given the awful movie year that has just passed. And, where “Mickey 17” is concerned, let’s hope that this all comes to pass – both on the big screen and otherwise.
“Mickey” (Robert Pattinson) is desperate to avoid a grisly fate at the hands of a loan shark, so decides his best bet is to get off-planet. Thing is, there are an whole load of like-minded folk so his only hope is to be an expendable. That means he gets used for all the dangerous and experimental tasks and if he gets killed or seriously maimed, they just lob him in the incinerator and reprint him - complete with all his old and quite a few new memories. Travelling through space, he meets “Nasha” (Naomie Ackie) and they have a good thing going, even if the imperious couple in charge - Mark Ruffalo and Toni Collette - have forbidden the wasting of the 100 calories it takes to have sex! Things start to go a bit wrong, though, when he unexpectedly survives one chilly mission only to find upon his return they have already duplicated his successor. “Nasha” thinks the ménage-à-trois thing could work quite well but “Mickey” less so, and when rumours of their duplicate existence starts to abound, well things get distinctly dodgy. Meantime, the indigenous population of the planet they have landed on are getting a bit cross with the murderous attitudes of their human interlopers, and so perhaps it’s gonna be for “Mickey” x 2 and “Nasha” to sort things out before the pitch changes altogether. It’s quite good fun this, but I kept thinking of “Galaxy Quest” and couldn’t decide if Ruffalo was having a go at Donald Trump or Val Kilmer with his rather hammy performance. Also, despite being easy enough on the eye, Pattinson is a remarkably charm-free actor and here, even when there are some daft scenarios and the CGI works flat out to create a perfect series of images, he just underwhelmed the whole time and when the film is about more than one of him, that mattered. Collette and Steven Yeun are relatively under-used and it’s simply far too long to sustain the thinness of a plot that does raise some interesting issues around human cloning, exploration and that especially American cinematic trait of shooting extra-terrestrials first and then asking question later, but I was disappointed with this, sorry.
<em>'Mickey 17'</em> is a blast! What a fun time at the cinema this was. It delivers a super engaging plot, an excellent cast and some tremendous special effects. I, like almost everyone, love Bong Joon Ho's <em>'Parasite'</em>, but personally I'd rank this one of his higher. That's likely a personal thing, this is more entertaining and highly likely more rewatchable; that named 2019 flick is quality, but I can't say I've had any inkling to revisit it since I watched it in 2020. Again, just me; it'll obviously vary person-to-person. Two great films, all the same. Robert Pattinson is brilliant as the titular character, he kills it <i>(ba dum tss)</i> all the way through. Naomi Ackie is as terrific though, she is smashing it in recent years; hard to separate her fantastic performances in <em>'I Wanna Dance with Somebody'</em>, <em>'Blink Twice'</em> and this. Mark Ruffalo, Toni Collette and Steven Yeun are super in their respective roles too. Top notch casting! Anna Mouglalis voices the leader of the Creepers, who I thought looked outstanding. Awesome effects. The whole look (and sound) of this movie is first-rate. Loved it.
Nothing incredibly groundbreaking, and a little heavy handed with the satire, but a fun ride and well shot, with all of the "I shouldn't laugh at this but I am" that you'd expect I am guilty, as many others will be, of comparing this to Parasite. Doing so is doing the movie a disservice. From Bong Joon Ho I was not expecting a silly black comedy that would have the whole theater laughing. Accept and enjoy it and you'll have a great time. Although I felt like I was getting slapped in the face with the Trump satire, it still hit pretty well and got a good few laughs out of me. After all this, I'm still wondering what the sauce is about...
