Director Bong June-Ho’s Mickey 17 is not your specific science-Fi blockbuster. This unstable, dark funny and dark humans (despite being established away from Earth) are everything required from the parasite’s Oscar winning director. And at its core is Robert Pattinson, who sheds the final relics of his dignity to give a career-defined performance, one that can get him off the Oscar.

Set in a future where the final hope of the intersteller colonized humanity, Mickey 17 follows Mickey Barsns (Pattinson), a “spending” crew member who is assigned to deadly jobs that no one else will take. Run away from the loan shark, he only takes to work without reading the terms and conditions, to understand that he has become a somewhat “experimental” module, who dies, simply revived the memories of his predecessors as a new clone.

Mickey 17 knows that she is just another disposable copy. But when Mickey 18 emerges, everything changes. Suddenly, identity, personality and nature of existence are thrown into question.

Mark Raffalo (Avengers) plays a tired mission leader, a failed politician, a person to make a person rigid from power and perhaps a little comfortable with the morality of cloning. Their performance is layered with an infallible node for today’s political climate, intentionally or not, his depiction of leadership seems strangely familiar.

https://www.youtube.com/watch?v=ta1s65o_kym

Pattinson has been making an unconventional option for more than a decade, but Mickey 17 may have the most challenging role so far. He does not just play Michehe, many Mickey, each subtle, each, each struggling with their own belongings. He brings vulnerability, intelligence and sheer physicality to the role, which makes you feel every ounce of Mickey’s confusion and frustration. It is a demonstration that demands your attention.

If the snowfarer was about the class war and parasites about economic inequality, then Mickey 17 is the discovery of the bong of identity and disposableity in the world -run world. Political undertakings are not subtle. The film directly speaks of modern concerns clones, migrants, labor exploitation, and terrible ease with which people can be replaced. Nevertheless, Bong never sacrifices entertainment for the message.

Like the snowfier, the film embraces visual extremes. The production design is breathtaking, the cinematography striking, and the score increases all the time. It is one of the existence horror or absurd comedy. And yes, some gore, abdominal-churn scenes that you have to win on your seat.

Despite his heavy themes, Mickey 17 never lost the signature mixture of Bong June-Ho’s humor and surrealism. The film is full of moments that make you laugh or chakle, as much as they bother you. High-picked screams, Mickey’s indifference finds herself as multiples, weaved originally in all experiences of existence crisis.

The parasit director actually knows how to balance ruthlessness with intensive introspection, and Mickey 17 is a masterclass in it.

This is followed by an end that provokes you to think, it is undeniably worth cold. When Mickey 17 becomes Mickey Barns at the end, it is a moment that lasts long after the credit roll. What does it really mean to be human? Are we just a collection of memories, or something else? Bong June-Ho does not give you a clear answer, he ensures that you will think about it for the coming days.

Mickey 17 is ambitious, thought-stimulating, and anchored by an unprecedented performance by Robert Pattinson. Although the film may not be complicated as a story as the previous films of June-Ho, it makes it for this with its razor-sharp social commentary.

So, if you are looking for a science-fi film that raises you on your existence, you will not want to miss it.