Although two mickeys may be better than one, by time it reaches seven or eight (Edward Ashton’s fictional novel “Mickey7”), or an impractical number like 18 (the inflated number in Bong Joon Ho-Big- Air Conditioner The screen), the possibility of endless supply of Robert Pattinson’s cloning really begins to wear it. The director of “Snowpiercer” returned to a familiar area with “Mickey 17”, which is a scientific imagination in a dark future where the Earth is no longer suitable for housing, and other planets and the success of a four -year mission must be colonized to the NIFLHEIM iceberg depends Consumer.
Pattinson has passed the deep space before, as it did this in the elegant Arthouse’s “High Life” feature. Here, the star turns to suit the large budget -budget Pong vision, and play a very desperate lollipop to escape a fine printing. This means literally signing his life away, as Mickey 1 (OG of his personality) agrees to wipe his body and his inevitable memories, so that he can be repeated – and recycled – endlessly at a time. obstacle.
This hypothesis must be spilled out of one hundred reasonable questions-like, why is the only consuming on board, and why do they do nothing more useful in the technique of overcoming memory? In the hands of Pong, instead it is considered a bad montage of various accidents, which leads to a (approximately dead or dead) bore from the Mecs to the burning incendiary and a folded for renewal. Pattinson explains that every new repetition made from the waste that has been rescued-ash to the ash, and garbage to garbage-only to back up again on what looks like a 3D giant printer.
The Bong text of the rude emphasizes a few ideas of the human crew in the consumer – and therefore, how little Bong thinks about human nature – through different masks, such as the technician who forgets to put Gurney in his place near, the newly printed Mickey printed to spill on the laboratory room floor. When you make different technical trips over the mid -delivery process, hiccups may explain the reason for the appearance of Mickey 17 a little less than others. However, they are all mainly made for death, because Mickey pushes positions that considers his colleagues’ life of great value to risk.
Ergo, in order to estimate “Mickey 17” – which will be released by Warner Bros in IMAX on March 7, two weeks after the first show of the Berlin Film Festival – you should be comfortable laughing at all the harsh and unusual ways that Pong thinks that he is, from the tests The vaccine to take air samples on an unknown planet. If this seems to be a harmful imagination of a person who mainly expands a human message, this is a Bong sensitivity paradox: it may not be a human being believed that his followers believe, but more than an explicit and teenage sarcastic, working in the context of Paul Verhofen, “Oral Forces”.
For Bona Fide Bong fans, the amazing tone of the film and the sense of humor should feel that it is a return to this strange mixture of emotion and ridicule that we have seen in the “parasite” projects by English directors: Gonzo Meat-weS-Murder Comedy “OKJA” and the three full dining “Snownpierier” “. Unfortunately, this is not the record in which Pong vision works better, and although it gains points for absolute strangeness (the monochromatic, future appearance created by the Diabi Jundji ports and production designer Fiona Chromby), a lot of “Mickey 17” turns to be dirty, Breaking preacher-from paradoxes, the same things that make Mark Rovalo the evil one that was deliberately designed to escalate in this movie.
Starting four years on a mission to colonize another planet, the film opens on Niflheim, where Mickey 17 is left to die in a ice cave, which was abandoned by Timo (Stephen Yun), the same friend in this reform in the first place. The last thing that the consumer of the wise consumers see is the immoral mouth of what appears to be the giant Sufi Armadolo-the character of Rovalo Jahil Ryder, Kenneth Marshall, called it these mysterious creatures “reptiles”.
According to the film’s disorganized ethics, spending was banned on the ground, but it is good to be used and their treatment outside the world, which gave Marshall-a failed politician who turned into the prophet of the author of the church who oversees immigration-the final statement of Mickey’s fate. For ridiculous reasons, the law demands that there are no one copy of the one who is traded at the same time (the polarity of the “Star Wars” policy, where countless storm forces are copies of the same compatible sexual introduction).
Although Timo assumes otherwise, the creeper does not kill Micky 17. By the time when the survivors are returned from half the freezer to the ship, his successor was already printed-which means that one of them must be disposed of. Although its genes and memories are identical, every repetition has a little different. Mickey 18 is more aggressive, immediately, immediately the role of Alpha for the most subjugated nature of Mickey 17, which Patinson suggests across his amazing shoulder and cut the childish bowl.
Both want to live, which motivates them against each other at first. Both are also looking for Naoma (Naomi Aki), which is a fierce base on board the ship, which has the idea of more than Mickey to satisfy it-to be that its opponent Kai (Anamaria Vartolomi) is not mice for them. Thus, the two women agreed on selfishness on the participation of the rogue spouses, while Mickey 18 plans a coup.
This plot is easy enough to follow, although the film insists on making it more complicated, as the character of Rovalo (which he plays with Sanders’s colonel’s hair grows, bright white teeth and an inconsistent tone) increasingly grows a tan of the earth. He wanders in his shoulder at every stage, his manipulative wife, Ylfa (Toni Collette), who encourages his worst instincts – such as assuming that reptiles pose a threat and therefore must be informed – while indoor in the sauces. The couple recalls that the companies ’lie, Galliz Tilda Swinton, and Jake Gillnhal, played in Oaka, with their flaming costumes and their acting style. Pong may argue that our current reality is no less absurd, although it is all very stressful.
In Ashton’s book, the author imagined 10 copies less than Mickey, but Bong collides with counting up to 17, which puts both character and star across Wringer. Pattinson is an incredibly good sport through all of this, sabotaging the followers of the “twilight” image by playing such a compassionate character. For most films, he was stuck in the episode “The Day of Earth”-Like an endless episode, where Mickey was sentenced to forever to repeat the same life that does not calm down, everything that is similar to unimportant questions about what is like death.
As happens, modern science is already a copy of the basic cloning technique, where small groups of stem cells (instead of the whole bodies planted with memory) experienced. This approach proves the discontent of the human situation through all this pain. Does Pattinson’s face lead us to this phenomenon to see him differently? For all recycled themes in the film – from condemning the gap between the social classes to sympathy for all creatures – it is not clear that any useful slow periods should be extracted from the dark comedy proverb in Pong. One view should be enough.