Mickey 17

"He's dying to save mankind."

2025 2h 17m EN

👍

6.8

SOLID

★6.8TMDB · 4,050

Science FictionComedyAdventure

Synopsis

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Unlikely hero Mickey Barnes finds himself in the extraordinary circumstance of working for an employer who demands the ultimate commitment to the job… to die, for a living.

“He's dying to save mankind.”

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Where to watch · US

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Cast

Robert Pattinson
Mickey Barnes
Naomi Ackie
Nasha
Steven Yeun
Timo
Mark Ruffalo
Kenneth Marshall
Toni Collette
Ylfa
Anamaria Vartolomei
Kai Katz
Daniel Henshall
Preston
Patsy Ferran
Dorothy

Credits

Behind the camera

Director: Bong Joon Ho
Writers: Bong Joon Ho, Alex Clark, Yigit Isik
Languages: English
Countries: United States of America, United Kingdom

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 8

MONEY

Did you know

$118M budget — tentpole studio territory.

MoodPlayr · trivia#01

2 / 8

ERA

Did you know

Released last year.

MoodPlayr · trivia#02

3 / 8

WORLD

Did you know

International production across 2 countries: United States of America, United Kingdom.

MoodPlayr · trivia#03

4 / 8

CAST

Did you know

219+ people credited in cast and crew — a small city's worth of labour.

MoodPlayr · trivia#04

5 / 8

DIRECTOR

Did you know

Directed by Bong Joon Ho, shot by Darius Khondji. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#05

6 / 8

DIRECTOR

Did you know

Original score by Jung Jae-il. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#06

7 / 8

DIRECTOR

Did you know

Editor Yang Jin-mo shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#07

8 / 8

CAST

Did you know

Robert Pattinson and Naomi Ackie and Steven Yeun carry the top of the cast.

MoodPlayr · trivia#08

Cinephile deep dive

The take

Bong Joon Ho directs. Darius Khondji behind the camera. Jung Jae-il scores. Yang Jin-mo cuts. Profitable at the box office. Produced in United States of America, United Kingdom. Dialogue in English.

Trivia

Things worth knowing

1$118M budget — tentpole studio territory.
2Released last year.
3International production across 2 countries: United States of America, United Kingdom.
4219+ people credited in cast and crew — a small city's worth of labour.
5Directed by Bong Joon Ho, shot by Darius Khondji. Note their partnership — DPs and directors often return to each other across a career.
6Original score by Jung Jae-il. Worth a dedicated listen after — most great films lose half their impact without the score.
7Editor Yang Jin-mo shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
8Robert Pattinson and Naomi Ackie and Steven Yeun carry the top of the cast.
9Marketing tagline: "He's dying to save mankind.".
10IMDB entry: tt12299608 — still the authoritative cross-reference for credits and trivia.
11Classified under 17 themes, including "based on novel or book", "dark comedy", "space travel", "betrayal".

The technical file

Cinematography: Darius Khondji
Original score: Jung Jae-il
Editing: Yang Jin-mo
Production design: Fiona Crombie
Costume design: Catherine George
Makeup / hair: Uxue Laguardia
VFX supervisor: Dan Glass
Sound: Eilam Hoffman
Stunt coordinator: Paul Lowe
Runtime: 137 min · 2h 17m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Budget: $118,000,000
Box office: $133,542,263
Return: 113% of budget
Original language: EN
Certification (US): R
IMDB: Mickey 17 (2025)

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Bong Joon Ho

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Community reviews

What people are saying

Manuel São Bento2025-03-07
★ 7/10
FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/mickey-17-review-robert-pattinson-shines-in-bong-joon-hos-latest-genre-bending-adventure/ "Mickey 17 presents an intriguing sci-fi concept and raises interesting questions, even if it doesn't always explore them with the desired depth. Bong Joon-ho continues to demonstrate his mastery in blending genres, but here, the satire and lack of subtlety in the narrative end up limiting the emotional and philosophical impact of a story centered on sociopolitical themes like identity, technology, and colonialism. Nevertheless, with a star-studded cast led by an excellent Robert Pattinson and a captivating audiovisual style, the South Korean filmmaker reinforces his status as one of the most creative directors working today, delivering an experience that falls somewhere between fascinatingly hilarious and frustratingly superficial." Rating: B
Brent Marchant2025-03-08
★ 9/10
Some movies have a way of hitting things right on the head, either intentionally or by happy accident. And such is the case in both regards in the latest offering from Oscar-winning writer-director Bong Joon Ho, a hilariously insightful sociopolitical sci-fi satire that knocks it out of the park in more ways than one can count. In an age of casual throw-away culture, “Mickey 17” takes this idea to an entirely new level by following the dubious exploits of the title character (Robert Pattinson), who works as an “expendable,” a human charged with determining just how lethal various new technologies and environmental conditions are in an off-world colony of the future. The ironic, questionable term for this profession is derived from the fact that its practitioners are considered wholly disposable in every sense of the word but are fully capable of being regenerated in full thanks to a form of digital human printing, allowing subsequent iterations of these beings to be created as often as needed. However, life isn’t quite so “simple and straightforward” for the Mickey expendable when he gets caught up in a series of complicated developments involving an illegal double, the whims of the maniacal cultist colony leader (Mark Ruffalo) and his self-absorbed wife (Toni Collette), the scheming of an unreliable, self-serving childhood friend (Steven Yeun), a relentless loan shark (Ian Hanmore) from his days back on Earth, and an aspiring romantic interest (Anamaria Vartolomei) who tries to get between Mickey and his girlfriend (Naomi Ackie), a passionate but badass security officer. The narrative’s various story threads blend well together (even if a few of them are a little stretched out or aren’t developed as fully as they might have been), but they collectively tell a well-integrated tale that generally keeps viewers riveted throughout. This captivating yarn is superbly supported by the picture’s inventive visuals, expert editing. and stellar performances, most notably Ruffalo, Collette, Ackie and the first-ever portrayal by Pattinson that I’ve actually liked. What makes this offering especially and somewhat inadvertently effective, however, is the timing of its release, which was originally scheduled for a year ago but was delayed due to the SAG-AFTRA strike, a truly fortuitous blessing in disguise. Given current conditions in today’s turbulent sociopolitical climate, particularly the unpredictable leadership of one particular politician, “Mickey 17” couldn’t have debuted at a more pertinently appropriate time. (While I’ll spare the specifics here, let me just say that MAGA fans and evangelical conservatives probably won’t find this picture much to their liking.) In addition, the film deftly addresses a number of pressing social and cultural themes, such as how the average, everyday working class individual is looked upon and treated these days, the expendability question coming front and center. Some might see these attributes as somewhat heavy-handed or preachy, but then such “excesses” are the essence of good satire, and the filmmaker holds nothing back here. I’m also amazed that all of this was foreseen so far in advance of the emergence of current conditions, decidedly prescient and poignantly relevant in its insights. Indeed, this is genuinely a cinematic fable for our times – a rather scathing one, to be sure, but a damning fable nevertheless. Moreover, if this release is any indication of what 2025’s crop of new pictures will be like, I warmly welcome it given the awful movie year that has just passed. And, where “Mickey 17” is concerned, let’s hope that this all comes to pass – both on the big screen and otherwise.
CinemaSerf2025-03-12
★ 6/10
“Mickey” (Robert Pattinson) is desperate to avoid a grisly fate at the hands of a loan shark, so decides his best bet is to get off-planet. Thing is, there are an whole load of like-minded folk so his only hope is to be an expendable. That means he gets used for all the dangerous and experimental tasks and if he gets killed or seriously maimed, they just lob him in the incinerator and reprint him - complete with all his old and quite a few new memories. Travelling through space, he meets “Nasha” (Naomie Ackie) and they have a good thing going, even if the imperious couple in charge - Mark Ruffalo and Toni Collette - have forbidden the wasting of the 100 calories it takes to have sex! Things start to go a bit wrong, though, when he unexpectedly survives one chilly mission only to find upon his return they have already duplicated his successor. “Nasha” thinks the ménage-à-trois thing could work quite well but “Mickey” less so, and when rumours of their duplicate existence starts to abound, well things get distinctly dodgy. Meantime, the indigenous population of the planet they have landed on are getting a bit cross with the murderous attitudes of their human interlopers, and so perhaps it’s gonna be for “Mickey” x 2 and “Nasha” to sort things out before the pitch changes altogether. It’s quite good fun this, but I kept thinking of “Galaxy Quest” and couldn’t decide if Ruffalo was having a go at Donald Trump or Val Kilmer with his rather hammy performance. Also, despite being easy enough on the eye, Pattinson is a remarkably charm-free actor and here, even when there are some daft scenarios and the CGI works flat out to create a perfect series of images, he just underwhelmed the whole time and when the film is about more than one of him, that mattered. Collette and Steven Yeun are relatively under-used and it’s simply far too long to sustain the thinness of a plot that does raise some interesting issues around human cloning, exploration and that especially American cinematic trait of shooting extra-terrestrials first and then asking question later, but I was disappointed with this, sorry.