Mickey 17 (2025)

The critic calls it Bong Joon-ho's best English-language film and arguably Robert Pattinson's best performance, praising its humor, charming world-building, and timely satirical concerns alongside strong genre elements.

The critic finds it a charming, goofy yet thoughtful sci-fi satire that subverts expectations with its hero's hapless survival and explores humanity with optimism. Praises the blend of humor, romance, and social commentary.

The critic finds the film gross and heartwarming in equal measure, commending Pattinson’s committed dual performance and Ackie’s delightful turn while noting it is not as slick as Parasite but still fun and endearing.

The critic describes it as a bonkers sci-fi tale with black humour and a double dose of Pattinson, noting it is funnier and more twisted than expected while dealing uniquely with cloning ethics.

The critic finds the film a lot of fun as a timely sci-fi satire, though not quite on the level of Parasite. She singles out the galvanising scene in which Naomi Ackie delivers a profanity-laden truth-to-power speech.

The critic calls it a spectacular if uneven sci-fi romp with two stellar Pattinson performances, praising the visual strikingness and tremendous fun despite some mid-film sag and less political bite than prior works.

The critic highlights the bitterly funny take on America and capitalism through the immortal drudge premise, praising the high point of the explanation sequence and hopeful note, while noting some familiar elements.

The critic praises the energetic, messy, hilarious sci-fi that combines Bong's themes into a shaggy but entertaining critique of labor exploitation and authoritarianism, with strong performances especially from Pattinson.

The review calls it an enjoyably mad sci-fi confection and a boisterous throwback blockbuster satire. It praises Robert Pattinson as a hangdog delight in the central role.

The critic describes it as a sloppy but enjoyable sci-fi comedy that recycles the director's past ideas on inequality and environmentalism. Pattinson's dual cartoonish and heroic physical transformations are highlighted as a standout.

The critic finds the film entertaining due to Pattinson but scattershot with heavy-handed satire and lacking thematic coherence, feeling trifling compared to Bong's sharper previous work.

The review finds the anarchic space adventure ultimately disappointing despite its ambitions. It singles out the repetitive use of Pattinson as a punchline and the failure to locate a strong plot.

The critic calls it a disappointing follow-up that recycles familiar satire but turns sloppy, shrill, and preachy. Pattinson's game performance as the dopey Expendable is praised amid the film's oddity and production design.

The critic finds the film boring and not fun, with clunky dialogue and underused elements; praises some touches of commentary but overall it's a disappointment that feels like the present.

The critic views it as a proudly idiosyncratic sci-fi dark comedy that wobbles in tone but is held together by rage at humanity’s cruelty and compassion for the protagonist, with Pattinson providing strong resonance.

The critic praises Bong Joon Ho’s playful sci-fi satire for its oddity and overt political commentary targeting white nationalism and colonialism. Pattinson’s dual performance and the film’s blend of humour with human drama amid grand effects are highlighted positively.

The critic finds the film a very funny yet utterly serious dystopian romp about class and power. Pattinson's soulful, hapless performance and silent-clown physicality are singled out as crucial to its tonal expansiveness.

The critic describes a boisterous sci-fi comedy packed with political broadsides, corporate spoofs and space-movie pastiches. He praises the spectacular look and the way it keeps posing interesting questions.

The critic calls the film a hilarious, humane and thought-provoking satire with Robert Pattinson delivering a revelation as the two Mickeys. It is singled out for its witty take on dehumanization, class divides and finding self-worth amid unfeeling leaders.

The critic hails it as Bong Joon-ho's best English-language film yet and an early Oscar contender, a deeply heartfelt and uncomfortably funny musing on capitalism, colonization, and corruption with superlative performances.

Bong Joon Ho delivers his best English-language film to date, a weird and wonderful sci-fi comedy with a hilarious Robert Pattinson in dual roles as the clones. The critic singles out Pattinson's comedic performance and the film's tighter narrative focus compared to Bong's prior English efforts.

The critic calls it a blackly comic sci-fi satire that entertains as a midnight-black, broad satire with a surprisingly British tone and a rare sense of hope amid its critique of capitalism and power.

The critic praises it as a worthy and wildly inventive follow-up that is weird, messy, thoughtful, and kind of hopeful, with strong performances and sharp thematic depth on identity and commodified lives.

The critic calls it a kooky, heartfelt sci-fi satire with infectious warmth and gleeful satire; notes some incoherence but finds it well worth seeking out, highlighting Pattinson and the allegory for fascism.

Bong Joon Ho's sci-fi black comedy is a sexy, slapstick success that explores identity, labor, and self-worth through the story of two clones learning to live with themselves. The critic singles out Robert Pattinson's captivating dual performance and the tender, sexy dynamic with Naomi Ackie's character.

The review hails Robert Pattinson's elastic, comedy-gold performance as multiple Mickeys in Bong Joon-ho's madcap sci-fi satire. It praises the film's abundant ideas and buffoonish antics while noting it plays louder and looser than the director's more streamlined prior works.

The film falls short of Bong Joon Ho's high standards for the first time, with erratic storytelling and characterizations that lack the usual control and momentum. The critic singles out Robert Pattinson's dual performance as the most successful element.

The critic loves the bold, eccentric filmmaking and Pattinson's performance; praises the gallows humor, satire on capitalism, and ambitious spectacle despite some narrative clutter.