Mickey 17

It's such a bold, adventurous, scream of a film, but its queerness ends up dampened.

I feel like it has the makings of a cult classic-a dystopian space comedy/adventure with shades of Terry Gilliam.

A typically dynamic production, with some great visuals and that more than meets the spectacular requirements of the genre it represents without overusing digital effects or trying to forcefully demonstrate how much it cost... [Full review in Spanish]

Mickey 17 may not end up being the year's best film, but it will undoubtedly become one of its most essential.

No one else makes films like Bong Joon Ho.

Pattison and Ackie are great and the satire is sharp.

It's neither funny, moving, or sharp. The time may feel right for a wry dystopian sci-fi adventure-comedy. But as satires go, this one is more mild than habanero.

Mickey 17 is remarkable for the savagery of its satire of 21st-century capitalism.

As a testament to the human spirit, Mickey 17 is audacious and over the top in all the right ways.

Pattinson's malleable performances as two warring Mickeys gracefully complement Bong's playful sensibilities to make "Mickey 17" one of the most galvanizing cinematic experiences this year.

The film's greatest asset, though, may be Pattinson. The actor's delightfully offbeat performance anchors the story in an endearing humanity. His choices border on cartoonish, but they're specific enough to make his character's plight feel recognizable.

Of course, Bong Joon Ho is an environmentalist. He recycles his own ideas.

Repeating his historic Oscar wins for Parasite is off the table for Bong Joon-ho. But together with an up-for-anything Robert Pattinson in multiple roles, Bong turns this scattershot sci-fi space opera into a buoyant social satire that really stings.

Even an audience expecting very little would be underwhelmed by this meandering, snowy dud, which, for all its extravagance, at a reported $120 million budget, combines insipid messaging with witless comedy and a weak plot.

For the first time in his career, Bong seems to have conflated pushiness with momentum.

It's Pattinson's performance(s), toggling between light and pitch black, that really keep Mickey 17 from being crushed under its own bulk.

"Mickey 17″ plays like an inferior pastiche of the earlier films in the director's oeuvre.

This is Bong in one of his signature modes, and while "Mickey 17" does not reach the heights of his other work, it does not disappoint.

It's in the contrast between the two characters that a viewer takes the measure of Pattinson's talent, his knack for physical comedy and the subtlety with which he embodies each Mickey's best and worst traits.

A mediocre rehash of the greatest hits of Bong Joon-ho.