Avaliações do Metacritic

For all the cruelty and buffoonery that might surround his hero, Bong lets us in on a revelation: what we’re really watching is a man learning that it’s OK for him to be happy.

Mickey 17 is funny and charming from the get-go, building out a fascinating sci-fi world from its central conceit that ends up speaking to powerful and timely concerns through humour, satire and exhilarating genre elements. Bong Joon-ho's best English movie to date and arguably Robert Pattinson's best movie ever.

This isn’t just another great Bong Joon Ho movie about how much he hates capitalism (though it definitely is that too), it’s the first Bong Joon Ho movie about how much he loves people.

Bong specializes in crushing capitalist dystopias, whether he’s skewering present-day South Korea or an even more stratified post-apocalyptic society, and the near-future in which Mickey 17 takes place is perverse enough for each detail to constitute its own dark joke.

Mickey 17, about a hapless clone’s misadventures on a colonising mission, is a throwback to blockbusters as the late 20th century made ’em: a $100m boisterous sci-fi satire that neither belongs to a franchise nor cares to start one, but instead jams as many eggs as it can into one increasingly precarious basket.

Mickey 17 sometimes wobbles balancing its different tones. But what holds Bong’s eighth feature together is his palpable rage at humanity’s cruelty mixed with his compassion for a protagonist who cannot die – and, therefore, cannot truly live.

It’s eerie, startling — and yet also unexpectedly benign.

Bong’s adventurous new film barrels forward with chaotic plotting, as is often the case with the director’s work. But thematic coherence remains frustratingly elusive.

Though it earns points for sheer oddity (and the nearly monochromatic, future-noir look established by DP Darius Khondji and production designer Fiona Crombie), too much of “Mickey 17” turns out to be sloppy, shrill and preachy — ironically, the same things that make Mark Ruffalo’s deliberately Trump-styled villain so grating in this movie.

Again and again lines and scenes strain for comic effect, but fail to deliver the goods.