It’s fascinating to call Bong Jundo’s latest film. Mickey 17a minor work. But for his last film, Parasitescultural and box office revenue. It was a film rooted in the experiences of humans living in the modern world, resonating with the audience as if Bonn whispered in our ears the very observations we noticed ourselves.
But his latest, Mickey 17Bonn looks forward to the future and, like many of us, doesn’t like what he sees. Or, more importantly, he can’t believe the future is that stupid. Mickey 17 It’s an anti-fascist screed that is not restrained by something very low, such as booking, second guessing, or delicateness. It is a big fat thumb in the eyes, a full-slooping trasberry to corrupt, obscene, wealthy powers. Bon portrays them as whimsical, vain, greedy, and funny monsters.
Mickey 17 It’s also a sincere, goofy movie. The tone required, otherwise the Dunderhead on display looks cartoonish, even at the current standards of real-life leaders. Instead, at Bon’s hands, a corrupt leader Mickey 17 It comes off like it’s strangely restrained. Bonn paints pictures of greed, desire for power, a special kind of immorality, which kills men over and over again, as it is cheaper than training and employment experts.
The man in question is Michalie Burns (Robert Pattinson). Thankfully, Bonn is not looking for empathy for the dimly lit Kenneth Marshall (Mark Ruffalo) or his shallow and position-plagued wife YLFA. They deserve nothing. Kenneth is a failed politician and used his fortune to lead a spaceship to the stars and found a second life by finding a new planet for a purer race. The gagbon lined up throughout the script is the way Kenneth and Ilfa sometimes say quiet parts out loud: “Pure…”
The future Mickey 17as seen through the camera lens of Bong and Darius Khondji, is to see how capitalism destroys everything beautiful. Like a drill, it digs holes into the mysterious things and extracts only the ordinary things. Mickey 17 it’s not Star TrekMarshall’s mission is not to boldly go to places no one had previously gone, but not to boldly colonize in places where no one had previously colonized them.
Mickey 17 Find empathy for workers. The grunts of spaceships are known as “consumables.” And there are few consumables as much as Pattinson’s Mickey. Lone Shark, Mickey and his friend Tim (Steven Yen) run on board the ship, deducing that the vastness and unpredictability of the space is preferred over the bloody, highly known fate the Lone Shark keeps for them.
Timo talks about his path to becoming a shuttle pilot. After all, Timo is good at talking about himself and speaking towards the situation. But poor Mickey is an unfortunate loser who signs up for the cloning program without reading the fine print. Fine printing says, “You are no longer a person. You are a consumable.”
Recruiting from books Mixy 7 By Edward Ashton, Bonn creates textured and layered pieces. In a world where blockbusters work to get one idea, Mickey 17 is full of ideas and themes. Some of them never go anywhere, but those who do so find a way to dig a hole in my consciousness. The story of sweet stupidity, which accidentally signed up for eternal indenturation, has some passed familiarity to our present.
It’s all so horribly familiar that it might have been impossible to stand it in the hands of others. But with Bon’s hand, Mickey 17 It’s goofy, horny, and sweet. Despite all the dirt, sweat, and the brutality of the ship’s lower deck, Bonn leads us to an eerie march of death through this hellish landscape of space. Apart from this, Bon is a way to marvel at science phile, clones, alien creatures, and the wonders of space travel.
The main example is the paralyzed creepers, like life-like creatures found on the surface of the planet. Humans believe that alien “creepers” are merely stupid, cow-like creatures and potential sources of food, but it becomes clear that they are much more intelligent and human than we had envisioned. Another example is how the narrow worldview of capitalism excludes the joys and wonders of discovery, or the desire for harmony of all kinds.
Failed politicians and egomaniacs, Kenneth and his wife Ilfa deal with the wonders of their new planet Niflheim and original technology, such a sloppy and myopia of society, which they happily consume these things without a second time. It’s a dark cartoon f story that was said to scream as Bonn doesn’t laugh at how ridiculous it is.
Of all of this, it’s Pattinson’s Mickey. I used the unfortunate thing to describe him, but it felt like an understatement. Pattinson plays Mickey with the elegance of a silent clown. Mickey is one of those souls whose life is so plagued by tragedy, and if he is not in bad luck, he will not be in luck at all. Troubled by the death of his mother, he accidentally blames himself, dehumanizing not only by one percent but the rest of the ship, and when the Creeper saves him, he mistakes him for a charge of being a clone.
One of the fascinating wrinkles in Bonn’s script is the way that all Mickey clones are relatively the same, up to Mickey 18. However, Mickey 18 has confidence that he has difficulties and that Mickey 17 is being made to be uneasy. It’s like the fact that two clones exist simultaneously create individuality, making it more than just a replica. Pattinson plays two Mickeys and does an incredible job of finding humor and grace in ways that are very different but very similar.
Throughout Mickey 17Bonn shows how authoritarianism corrodes the moral fabric of society and erodes the guardrail of human decency in the name of productivity and revenue. The other passengers on the ship are also grunted workers, but not only did they not look down at Mickey and see him as a person. But it’s also better to aim for your anger at someone under you.
Mickey’s consumable status makes him easier to consume for everyone except his girlfriend, Nasha (Naomi Akki). Nasha’s appeal to Mickey is almost a mystery until we realize that the fact that he is such a pushover is what makes him so appealing. But for Mickey, after 17 iterations, her attention is the closest to the love he has ever felt. However, a glitch occurs and Mickey 18 is cloned before Mickey 18 dies. The results are humorous and profound.
Because the humorous Nasha finds herself facing a real-life version of fantasy and faces the three-way possibility with her boyfriend. Mickey meets his side with the old adolescent debate, “Are you having sex with your clone gay or masturbating?”
Incidentally, Ackie shows the undeveloped ability of comedy timing and the noisy sexual aspects that Hollywood has never used one of the bright stars working today. She plays Nara with delicate ferociousness. She has a scene where she kicks out Kenneth of Ruffalo due to his greed and stupidity. A more modern film should scream characters with authoritarian figures if it’s just for peace of mind in my own way.
Supported by the set of Fiona Crombie, Khondji’s camera gives Mickey 17 a tactile, living sensation. Furthermore, they visually show the differences in classes, with Marshall’s room being spacious and crowded with property in stark contrast to Nasha and Mickey’s room. Khondji Shoots Mickey 17 In range it shows both the extent of the ship and the devastation of the planet they landed on.
Meanwhile, the existence of Mickey 18 has guided Mickey 17 and recognizes that death is now real. Previously, knowing that he was merely cloned gave Mickey a strange sense of fearlessness, as it meant nothing. But now there is no new clone for his memory to be transplanted. His life is his own, and death is genuine with definable characteristics.
Bonn is a modern-day Ingmer Bergman. He is one of the few working artists who can communicate themes and ideas very clearly throughout his films, so even those who watch the film rather than watch the film can understand his meaning. Mickey 17 It’s more than a hibari. It is the work of those who feel our despair, our frustration and, most importantly, our hopes.
Image courtesy of Warner Bros. Pictures
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