Mickey 17

 

This review may contain spoilers!

Mickey 17 is the film adaptation of the novel 'Mickey 7' by Edward Ashton. In this dystopian sci-fi, Mickey Barnes seeks an escape from a failing Earth on a space colony ship. However, to get aboard, he must sign up to be an 'Expendable'. Mickey's job is to be placed into situations in which he can die, be reprinted and assigned a new life-threatening task. But in a system like this, how long can one man stand dying for a living?

This film has a fascinating approach to sci-fi, that off-kilter world design that made Bong Joon Ho's Snowpiercer so famous. The ship Mickey is a part of is a very interesting culture, where sex and food are closely monitored, the science team conducts random experiments at inappropriate times, drug dealers are trading oxygen from flamethrowers, and most of the community is following a cult-like religion. Within all of this you have the plight of Mickey Barnes, the guy who gets 'paid' to die over and over again. The work of this community falls behind a half-crazed senator who failed in his earthly political aspirations and desired to become a leader of a colony off-world. This political leader, Kenneth Marshall, is a wild fanatic leader who randomly staggers through speeches and has his wife and advisors feed him most of his ideas. The whole society spins around control and inequality, those who work have no power, and Marshall's will exerted over them. There is a scene in which Marshall reprimands Mickey for not dying, which is a clear commentary on the class divide that really sits at the heart of this film. There is also a very interesting storyline around the alien species on the colony planet: the Creepers. The Creepers prove to be a very empathetic and helpful race, but due to their appearance and inability to communicate, they are treated as hostiles. Which ignites probably the best theme of the film: a sharp critique of colonialism and the othering of native people. Marshall is intent on the eradication of the Creepers to appear strong, while the Creepers rise to retaliate against the injustices being done to their people. Mickey seems an inactive protagonist for much of the film, things happen to him, but he manages to secure himself 'a good life'. But when he is left for dead on a mission, an extra Mickey is printed out, resulting in two Mickey Barnes. This pair functions as two sides of Mickey; one who accepts grievances done to him but holds a sense of empathy for wrongdoing inflicted on others, while Mickey 18 is more reactionary and seeks to actively resist the wrongs that have been done to him. The end result is a human who tries to fix the situation between the human colonists and the Creepers, and the same human who is willing to oppose Marshall. This storyline is exceptionally creative, a bit of an oddball but immensely satisfying to watch.

Bong Joon Ho has a way of shooting sci-fi that leaves you feeling very engaged, I found the way a camera moved through sets or CGI landscapes to actually be quite immersive. The special effects are well-designed, the spaceship is nice, but the real star is the creature design of the Creepers. Those little alien slugs actually have so much going for their appearance and wind up becoming quite characteristic. I cannot even begin to describe how good the score presented by Jung Jae-il is, when the track 'Mayhem' plays, you really feel a strong sense of chaos unfolding.

Steven Yeun, who played Timo, is absolutely brilliant as this scoundrel who weasels out of every bad situation; watching Yeun ham up his role's pleading or emotional outbursts is very entertaining. Patsy Ferran, who played Dorothy, is a very sincere scientist role that I came to really enjoy; Ferran does little more than show a role learning to resist by being kind and that worked wonders. Tim Key, who played Pigeon Man, is a hilarious side character who really suffers at being an adoring fan of Ruffalo's Marshall; Key subjects himself to some ridiculous performative moments in conveying the character's sincerity to the cause. Naomi Ackie, who played Nasha, is a real powerhouse role that is step for step with Pattinson; Ackie can be wild and sexy in one moment or entirely driven and a bit of a fighter in the next. Toni Colette, who played Ylfa, seems to really understand the balance between the comedy and drama of her role; Colette presents a sensational and wild political leader who can also become very dangerous if the scene compels it.

However, the best performance came from Robert Pattinson, who played Mickey Barnes. I know Pattinson has had the shadow of Twilight over his career for some time now, but there have been several projects that have left me questioning his ability to lead a film. But along comes Mickey 17, along comes Mickey Barnes. Pattinson presents a few different versions of Mickey within this film, but the one we are most attached to is 17 and 18. The seventeenth Mickey is our protagonist and perspective from which the story is told. Across this Pattinson conveys this Mickey as someone who is very meek, he is the type who shelters himself inwards and has a nervous energy about him. He's very reflective, has a kind nature to him and sees things through a slightly romantic lens. Pattinson also does a great job of building him up to be a more honourable figure and someone who is motivated by empathy. Mickey 18 on the other hand is very reactionary, and prone to solving things via violence. Pattinson does a great job of presenting a new Mickey who feels wronged by everything that has been done to him and has this anger bubbling just below the surface. Watching Pattinson build a more noble streak to this Mickey means we got to see Pattinson take two leading roles on a very rewarding journey of character development. This is my current favourite performance by Robert Pattinson and I'm looking forward to what I see from him next.

The problem I had with this film is that I can see a really decent film, but the script struggles to be subtle at times. At others, it plain just doesn't hit the mark by awkwardly attempting commentary on a very broad theme. Bong Joon Ho often presents a film about social class, if there's anything consistent in his works, it is that. But there are whole moments here where the social commentary just feels a bit plain, the dramatic equivalent of low-hanging fruit. There is a clear intent here to do a big jab at the American political system as it stands right now, particularly how the lower class, poorly educated or religious members of society are easily led astray by a performative individual in a position of power. But in this film these moments are quite obvious to the point it feels more like parody than a well delivered theme. This film is funny, but it leans on this, and ultimately comprises the story. Marshall as an antagonist could have been something really worth talking about, but it's a bit of an obvious Donald Trump joke instead of a more biting reflection on that political situation. I mean the crew are all wearing red caps when he gives an address, it just needed to try a little more. Mickey 17 also shoots to have a bit of a church and state commentary, in which the main political leader uses a religion to indoctrinate his crew. But it feels like this theme was slapped in without much thought. It has so much potential and winds up saying a lot of nothing at all.

Mark Ruffalo, who played Kenneth Marshall, gives one of the worst performances I have seen from him in a while; Ruffalo presents this fanatical and over the top political leader with all the range and skill of an SNL performance. Anamaria Vartolomei, who played Kai Katz, plays a very odd romance subplot within this film; Vartolomei doesn't serve very well as this romantic prop for Pattinson and Ackie to rival against. Steve Park, who played Zeke, had so much potential to be an interesting performance but he doesn't get enough opportunity to shine; Park's storyline around resisting the Marshall's deserved more air time than other aspects of the film.

Bong Joon Ho's latest foray into sci-fi is yet another intriguing commentary on social class and capitalism. I would give Mickey 17 a 7.5/10

Tinā

 This review may contain spoilers!

Tinā follows Mareta Percival, a choir teacher who loses her daughter in the 2011 Christchurch earthquakes. Jumping forward three years, Mareta has fallen on tougher times and inadvertently finds herself confronted with a new career opportunity: teaching at a private school. Through her compassion and dedication to the students, a choir is formed that helps heal those involved with it.

I'm so used to a very detached quality when I sit back and watch a movie, a movie often has to invite me into the world it is crafting or impress me with a complete escape from reality. The thing about Tinā is that it really sits so close to home, this is a story set not only in my very country but in my home city. It becomes very easy to form bonds with aspects of it, while measuring it up against tremendous expectations elsewhere. This is a drama that is strongly motivated to tell an inspirational narrative, something that will leave you smiling despite the tears when the credits roll. I think the character of Mareta was a wonderful point of inspiration, she is strongly motivated by a duty of care that uplifts her students and in doing so, allows them to share in her passion. She becomes this force of change, not only in coaching choir, but in setting an example for life that improved the lives of her students in turn. Mareta is also faced with incredible tragedy throughout this film, her story starts by forever being altered by tragedy. Watching her endure while carrying that tragedy is something quite special. She doesn't just lose the grief, she learns to be strong alongside the grief. An element of this tragedy stems from the 2011 Christchurch earthquakes, and despite some personal mixed feelings I have about fictionalising a death in the collapse of the CTV building, I felt this film really captured the emotion held by the city from this event in a way no other fictional content has achieved. The film also does a great job at analysing Christchurch private schools, not holding back from saying they are governed by success over wellbeing or a duty of care. I really loved seeing traditional private school values challenged without ever tarring the students themselves as being overtly problematic. The film does a good job of remembering these are teenagers, still shaping their identities and capable of growth. I saw so much of my city in Tinā and I was very proud of what Miki Magasiva accomplished.

There is a very real sense of beauty to this film. You would struggle to see a scene in which there isn't a piece of artistic camerawork, or in which something is beautifully framed. Even in that bare wooden choir room you have these gorgeous ensemble shots of rehearsal, the breathing scene is a particular triumph. Music is at the core of this film and it stands as one of the greatest strengths. Speaking to the elements that were more 'soundtrack', the choir recordings are majestic, these incredible tracks that draw strong emotion from the audience. The score for this movie holds great beauty too, but it often denotes the struggle Mareta and other characters are wrestling with beneath the surface.

Dalip Sondhi, who played Alan Hubbard, was fascinating as the gentle mannered but ill-advised principal on the cusp of retirement; I enjoyed Sondhi developing his role to learn what Mareta's teachings meant to his students. Nicole Whippy, who played Rona, is a force to be reckoned with in this; Whippy's fierce care for Mareta that often brought the two to conflict as well was a beautiful portrayal of genuine friendship. Jamie Irvine, who played Peter Wadsworth, was fantastic as the primary antagonist; he had a cruel bend towards difference in his school that I felt was an interesting force to see Mareta oppose. Zac O'Meagher, who played Anthony Bull, presents a young man forced to give everything to the reputation of his school; seeing his love for the choir and rejection of harmful expectations was a very worthy subplot.

However, the best performance came from Anapela Polataivao, who played Mareta. This was a career high character performance from Polataivao, a role that she could really inhabit and make her own. When first we meet Mareta Percival, she seems a little restrained and I wondered how this role was going to occupy my attention for two hours. Then Polataivao showcased how deeply she could show grief, that raw scene in which she weeps floored me. Across this movie, Mareta is a woman deeply depressed, her world has been obliterated. Polataivao steadily develops her character on a new path, where she demonstrates care for a new group of students and imparts the passion she has for choir to them. I also really loved how good Polataivao's comedic timing and delivery were, the film really was funniest when she had a funny line or moment. Polataivao finds Mareta a broken woman and takes her on a journey of healing, one in which she uplifts others. This might be a character performance leading a film but it really is such a well-realised one, in no small part due to Polataivao.

Tinā is a movie that is pretty comfortable sitting in the realm of predictability, and that's not the end of the world. You start watching Tinā and it's pretty reasonable to expect that going back to teaching will heal Mareta and that she will in turn raise her students up. Throw in a couple of easy antagonistic private school deputy principal/board members and this film does come off as a bit safe at times. I felt it still performed extremely well, but it isn't really too much more than what it says on the box. I also found the subplot of Mareta investing so much in a student due to the loss of her daughter to be a bit strange. It felt like it made that relationship more complex and emotionally charged than it had any business being. When the film tries to be funny it really struggles to draw forth a laugh from the audience, sometimes the movie needed to recognise that its strength sat with drama. One major nitpick I had was the city really looks nothing like it did in 2014, we still looked quite broken even then. That's the issue of being a local watching, I guess.

This film is one of my all-time favourites from this year, but it does have some of the worst editing I have seen, with abrupt cuts or transitions that can be jarring at times. Poor linear editing also caused continuity to break in some moments, which was a glaring fault and the one I struggled to look past.

Antonia Robinson, who played Sophie, is a young performer that this film probably showed a bit too much faith in; Robinson gives a very generic portrayal of teen angst and mental health struggle. Beulah Koale, who played Sio, was a character whose bond with Polataivao just didn't really feel that engaging; Koale's moments of comedy also fell extremely flat for me. Matthew Chamberlain, who played Father McAfee, was an odd side character to get the screen time that he did; was there something so impressive in watching a Palagi priest speak Samoan in such a performative way?

A piece of cinema from home that will stand apart all year long. I would give Tinā an 8.5/10.