FILM REVIEWS SACHIN CHATTE
Film: Mickey 17
Cast: Robert Pattinson, Mark Ruffalo, Toni Collette
Directed by: Bong Joon Ho
Duration: 2 hours 20 minutes
Rating: * * * 1 / 2
The last feature film directed by Korean filmmaker Bong Joon Hoit created history at the Oscars. Parasite (2019) garnered four Oscars and made history as the first non-English-language film to receive the Academy Award for Best Picture. Now, the director returns with a big-budget science fiction film produced by a major
Hollywood studio.
Bong’s films are known for their intricate layers and themes, which were particularly prominent in Parasite, though they have been present in his earlier works as well. Mickey 17 is based on a novel by Edward Ashton published a few years ago. Although the narrative unfolds aboard a spaceship far from Earth, it fundamentally explores themes of human nature, greed, capitalism, and cynicism, featuring a leader reminiscent of the current American president, who has been stirring global unrest. Mark Ruffalo portrays a narcissistic megalomaniac leading the mission aboard the spaceship. While Bong has previously directed films in English, this particular project feels distinctly American
in its essence.
The film begins with Mickey 17, played by Robert Pattinson, who finds himself in a dire situation without assistance from his colleagues during a mission to colonize the planet Nilfheim. The name “Mickey 17” indicates that he is the seventeenth iteration, capable of being reproduced through a ‘human printer.’ Consequently, Mickeys 1 through 16 are all dead, yet 17 retains the same characteristics and memories as his predecessors. Mickey Barnes volunteered as an ‘expendable’ for this endeavour, fully aware of the likelihood of his demise and subsequent reproduction. The spaceship employs these expendables for missions deemed too hazardous for regular humans due to viruses and other risks. Prior to joining the spacecraft, Mickey and a friend took out a loan they were unable to repay, prompting them to flee Earth in search of a place where they could evade
their creditors.
The planet is overrun by insectoid creatures known as “creepers,” which may appear frightening, yet their actions do not align with their appearance. These beings are the planet’s indigenous inhabitants, and when Kenneth Marshall (Mark Ruffalo) labels them as ‘aliens,’ Mickey points out that it is, in fact, humans who are the
aliens there.
Marshall harbours sinister intentions for the planet, aspiring to establish a breeding ground exclusively for the ‘pure’ human race once he has completed his takeover. He is easily swayed by flattery and is eager to demonstrate his greatness to others. A former congressman who has faced electoral defeat, his character draws clear parallels to Trump, albeit without the
election context.
Ylfa (Toni Collette), Marshall’s wife, is complicit in his schemes and possesses her own cunning nature. She harbours an unusual obsession with sauce. Meanwhile, Mickey is involved with Nasha (Naomie Ackie), but their lives are disrupted when Mickey 18 arrives without the prior disposal of 17.
The film takes its time to transition, emphasising not only the storyline but also the character development. Mickey is treated as a disposable asset by those around him, who are aware of his impending demise and the inevitability of a swift replacement. This perspective on his mortality, coupled with his own acceptance, provides a compelling angle, highlighting the dehumanising attitudes of individuals working for a corporation.
The performances are exceptional; Robert Pattinson effectively portrays two iterations of his character. Mark Ruffalo, in a role unlike any he has previously undertaken, appears to relish the experience. Toni Collette showcases her remarkable versatility, proving herself to be one of the finest actresses of her generation.
Being a Bong Joon Ho film, Mickey 17 gives you enough food for thought – and
your entertainment.
Monkey Business
Film: The Monkey
Cast: Theo James, Colin O‘Brien
Directed by: Osgord Perkins
Duration: 1 hour 40 minutes
Rating: * * *
To begin with, one must possess a robust constitution to watch some of the scenes in this horror-comedy. “How do we kill people in the most gory manner and elicit some laughs”, seems to be one of the mantras of The Monkey directed by Osgord Perkins (son of Anthony ‘Psycho’ Perkins). Osgord previously directed Longlegs, a taut thriller featuring Nicolas Cage.
Having witnessed haunted houses, toys, and dolls, it is now the turn of a toy monkey to partake in a series of horrific murders. Adapted from a short story by Stephen King, The Monkey initially explores sibling rivalry until the monkey asserts its dominance.
Twins Hal and Bill, both portrayed by Christian Convery, discover this toy monkey while sifting through their late father’s belongings. It is revealed that the father, aware of the toy’s malevolent nature, had previously destroyed it. In films, especially a horror film, anything coming back after being disposed is never a good omen. In this instance, winding the key on the monkey prompts it to beat a drum, and when the drumming ceases, it signals an impending death. And it will not be a peaceful demise; the boys’ babysitter experiences a gruesome fate, with her head dislodged from its normal position, and this is not the only instance of such horror in the film, as evidenced by a woman whose head is engulfed in flames as she frantically runs until she can run no more.
Following a series of horrific deaths, the boys come to the realisation that the monkey harbours evil intentions, leading them to dispose of it. Subsequently, they drift apart. As children, Bill is the one who consistently bullies Hal, and the narrative fast-forwards 25 years into the future.
Hal (Theo James) is employed at a supermarket and decides to take a week off to visit his son Petey (Colin O’Brien), who has limited knowledge about his father. Hal grapples with the guilt and emotional burdens stemming from his own childhood, which affects his ability to connect with his son. At this juncture, Hal’s twin brother Bill makes an appearance, along with a monkey, leading to an increase in the body count.
The Monkey does not conform to the typical horror film template, despite the presence of a toy linked to fatalities, which may seem familiar. Additionally, there is no significant religious or spiritual theme present, a common element in many horror narratives. Although James Wan, known for his work on Saw and The Conjuring series, is involved as a producer, the film bears a stronger resemblance to Perkins’ style, from what we saw in Longlegs. Quite skilfully he manages to change the tone of the film from gore to gore with humour, as evident in that last scene when a bunch of cheerleaders in a bus lose their heads.
