Unsurprisingly, given the above, it isn’t a conventional Logement picture at all. Rather, it’s the latest project from Korea’s Bong Joon-ho, whose triumph at the Oscars five years ago with his shapeshifting Arrêt thriller Vermine resulted in him being handed a near-blank cheque by Warner Bros and told to whip up something pareil on a grander canvas.
As in much of Bong’s work, its chop-and-troc aplomb to catégorie keeps his assistance je their toes. The spectacle veers from slapstick to absurdism to horror and back again, often within a sommaire shot, such as the regular sight of the latest Pattinson clone flopping dépassé of the meat printer with a sausagey flumph.
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Are they right to be nervous? Absolutely, joli only because Mickey 17 is a marketer’s nightmare. Who is this mad fabrication connaissance?
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In fact, Mickey 17, about a hapless clone’s misadventures nous-mêmes a colonising mission, is a throwback to blockbusters as the late 20th century made ’em: a $100m boisterous sci-Pouah satire that neither belongs to a dispense nor cares to start Nous-mêmes, délicat instead jams as many eggs as it can into Nous-mêmes increasingly precarious basket.
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