
Mickey 17 (2025)
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I guess I’m a Bong-head.
The initial idea of adapting this story had a 95% chance of producing a movie that I still probably would have liked, but which would have felt somewhat paint by numbers. You pace the movie so that you make the Creeper translator into some sort of macguffin and seed its origins early on; you ratchet up the tension Nolan-style in the final act to get the audience snapped into climax mode. It would have all been cool, but it would have been a little tiresome to go back to years later.
The antidote to that fate is to give this to Bong Joon Ho, who makes sure every character is either a charming or at least compelling collection of foibles and flaws. Every scene becomes a small work of art thanks to the ongoing support of composer Jung Jae-il and cinematographer Darius Khondji. You draw on the talents of Robert Pattinson and Toni Collette to make sure no one accuses you of putting a stock character on screen, even though, alas, you kind of wasted Steven Yeun.
It’s a rare achievement, wherein a little-known IP gets nearly a $120 million budget from a recent Best Director who operates on a wavelength that would jar 90’s Hollywood producers. I wish one could reliably walk into the theater to get stories told this way, but I think this might be the One and Only, as they say.