Tag Archives: Steven Yeun

440 – Mickey 17

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After a little time off, we’re back at the cinema to see Bong Joon Ho’s sci-fi comedy, Mickey 17, in which Robert Pattinson dies. Repeatedly. Leaving Earth on a spaceship seeking to colonise an icy planet, Pattinson’s Mickey is an “Expendable”: a disposable worker given lethal assignments, regenerated by a biological printer, and sent out to die again. But when the 17th version of Mickey fails to die at the mandibles of the local fauna, he finds his way back to the colony, only to find that he’s already been reprinted as Mickey 18 – and clone coexistence is strictly prohibited.

We’re disappointed by what looked like a marvellously energetic, knockabout comedy and social satire from the trailer. Even considering the film’s very broad tone, there’s too little in the characterisation to really buy in to, a severe lack of pace, and an ending that betrays it. Nonetheless, as failures go, it’s an interesting one, playing with plenty of ideas, and featuring more than enough good jokes to support it. Our recommendation of Mickey 17 is far from whole-hearted, but you ought to give it a whirl.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

370 – Nope

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Nope, Jordan Peele’s third film as writer-director, following his zeitgeist-capturing Get Out and complex, ambitious Us, invites its audience to speculate on audiences and spectacle. The kinds of things it wants us to think about are clear, and we discuss its themes of commercialised tragedy, fear of the audience, and photography as truth, among others – but what it has to say about them is at best muddled, and, more frankly, disappointingly uncritical. Like Peele’s previous films, Nope is a terrific conversation starter, but unlike them, its contribution to that conversation is weak.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

287 – Minari

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Listen on the players above, Apple Podcasts, Google Podcasts, or Spotify.

A gentle drama about Korean immigrants making a life for themselves in 1980s Arkansas, Minari‘s tone is consistently light, despite some of the upsetting events that occur. Mike argues that it reflects a child’s perspective of life, protected by their parents from the worst of life, or simply not understanding the darkness in what they experience – writer-director Lee Isaac Chung based the film on his own upbringing on a farm in Arkansas. José identifies strongly with the story, commenting on the similarities and differences with his youth as a Spanish immigrant to Canada. Minari is a good-natured film with no room for cynicism, and, for José, a joyous experience to watch.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.