6 Best Movies Like Mickey 17 You Need To Watch Next
Static Media
If you’ve finished shaking off the snow from Niflheim and have picked out your preferred size of pet creeper to take home, you’re probably in the mood for some more sci-fi fun like Bong Joon-ho’s “Mickey 17.” The newest film from the Oscar-winning director comes with two Robert Pattinsons for the price of one (well, 18 Robert Pattinsons if you count all the previous multiples lost to outer space mishaps). The Pattinsons occupy a captivating sci-fi world that sometimes feels like the most expensive “Doctor Who” episode ever made, and we say that with the utmost respect. “Mickey 17” is the kind of refreshing and daring movie we need now more than ever, but it also shared DNA with a handful of other sci-fi gems you can watch right now.
We’ve compiled a list of excellent post-watches after “Mickey 17” that share the same vibe, themes, and wonderfully bizarre ideas that even Bong Joon-ho himself would likely enjoy watching (mainly because he directed some of them). So clear your queue and add these to your watchlist immediately — starting with an overlooked Netflix gem that showcases Bong’s love for science fiction and bonkers beasties in equal measure.
Okja
Netflix
Before “Parasite,” Bong Joon-ho’s filmography was a mixed bag of wild worlds and neo-noir thrillers. Nestled somewhere between “Pete’s Dragon” and “Babe,” Bong’s epic story “Okja” follows a girl who must cross waters and brave foreign lands to rescue her genetically modified (and incredibly adorable, hippo-sized pig, Okja.
Featuring an extraordinarily impressive cast that, like Bong’s previous film “Snowpiercer,” stretches beyond his native South Korea, “Okja” showcases some big names at their wackiest and most ludicrously loathsome. Jake Gyllenhaal plays the mad zoologist Johnny Wilcox, while Tilda Swinton delivers a remarkable performance as the CEO twins Lucy and Nancy Mirando. Both are scene-stealers in their own right, along with the likes of Steven Yeun, Paul Dano, and Giancarlo Esposito, but at the heart of the story is Ahn Seo-hyun’s Mija, who simply wants to take her friend home.
The brilliance of this film lies in its brutal and unflinchingly honest nature, wrapped in what feels like a family-friendly movie. This isn’t “Mighty Joe Young” or “Free Willy,” though. “Okja” is a tale that makes sure you’re watching when the worst of the worst comes for our poor movie mascot, obliquely shining a light on the real-life horrors of mass food production. Bong’s creature feature might turn your stomach, but it’s hard to look away.
Parasite
CJ Entertainment
What’s to be said about “Parasite” that hasn’t been said already? Bong carefully constructed a masterful satire of social class in his 2019 movie, which felt like a culmination of his best work up to that point. A home invasion movie like no other, the biggest win and testament to the director’s storytelling capability is that he tiptoes around genres he’s delved into previously, like the Kim family themselves tiptoe around their home away from home.
What will go down as one of the most gob-smacking moments in recent movie history, however, is the mid-movie reveal of what’s in the basement, taking us even deeper into a perfectly layered story. From here, Bong ratchets up the tension beyond the highs he’s already kept his audience in for so long. Some filmmakers may struggle with such a balancing act, but here, he makes it look easy and keeps everyone precisely where they need to be until the film’s end credits allow us to get off the edge of our seats. If, by some miracle, you’ve managed to miss this four-time Oscar winner, then now is the time to find out why it deserved all the attention. And if you’ve already seen it, here’s the excuse to simply watch it again.
The Double
StudioCanal
If you like a chalk-and-cheese combo of the same actor stepping on his own toes like Robert Pattinson does in “Mickey 17,” then you might have fun with Richard Ayoade’s dark comedy-thriller “The Double.” Jesse Eisenberg plays drab, down-on-his-luck office worker Simon James, who has his world rocked when the company he works for gets a new addition to the staff that looks exactly like him. James Simon (also Eisenberg) is everything Simon wishes he was, and his doppelgänger knows it. As those around him ignore the fact that this new addition that looks exactly like him, Simon fights his twin for his identity in a surreal but funny movie about battling to become everything you could be, but won’t.
Eisenberg makes a great effort to not only bring his signature style as a character uncomfortable in his own skin, but also to master a character who is perfectly comfortable in it. There’s also a streak of deftly-applied humor throughout the film, which is understandable given that Ayoade made a name for himself in the British comedy series “The IT Crowd” and with the equally quirky movie, “Submarine.” This under-the-radar pick deserves more attention, so be a dear and give it some.
Moon
Sony Pictures
Duncan Jones’ excellent isolated entry, “Moon” is another space-age film that tackles the idea of identity as well as “Mickey 17.” Easily one of the best sci-fi films ever made, “Moon” sees Sam Rockwell delivering a one-man show as Sam Bell, a spaceman who’s reaching the end of his required time on the moon, only to encounter a problem. After an accident out on his space rover, Bell finds an unconscious doppelganger, sparking a severe bit of self-reflection and the discovery that he isn’t as alone as he thought, and that his time out in space has been much longer than he ever imagined.
A brilliantly executed concept with Rockwell giving it his all and then some, “Moon” was a tiny little sci-fi film that made a significant impact. Unlike the hustle and bustle of the brutally blunt colony world in “Mickey 17,” “Moon” thrives because of its limitations and expert handling of the character caught in the center of it. Rockwell going it alone, albeit with the added aid of an artificial intelligence voiced by Kevin Spacey (yeah, we know), never gets old. It has a much firmer grip on the matter of one’s own identity than “Mickey 17” etches near, even if it never entirely takes hold of it fully. Give “Moon” a watch (or a rewatch) immediately.
Source Code
Summit
Duncan Jones’ follow-up to “Moon” was a nail-biter that blends the fantastical elements of “Groundhog Day” and “Quantum Leap.” In “Source Code,” Jake Gyllenhaal finds himself inside the body of a passenger on a doomed train that is about to explode, assigned with reliving the last eight minutes of the journey in order to identify the bomber. Once again, Jones deftly handles the matter of a character living life on repeat while rarely stepping outside the confines of the rollercoaster ride he’s planted his hero on. Gyllenhaal, as always, delivers an excellent performance as a man trying to make every second count.
There’s added support from Vera Farmiga and Jeffrey Wright as his allies out of time tasked with breaking the bad news that this mission isn’t going to go the way both he and the audience hope. “White Lotus” star Michelle Monaghan also adds charm as the stranger he crushes on during the chaos, which we totally get. It’s a shame that after this, Jones’ work derailed slightly with the box-office bomb that was “Warcraft” and the misfire of a sci-fi that was “Muse.” Nevertheless, “Source Code” still stands as a sci-fi worth revisiting repeatedly, and oh boy, what a great little nod to “Quantum Leap.”
Edge of Tomorrow
Doug Liman’s “Edge of Tomorrow” sees Tom Cruise do something we’ve not seen him do in decades: a true hero’s journey, albeit one where the hero dies a lot along the way. During an alien invasion that has humanity on the back heel, Major William Cage (Cruise) finds himself caught in a time loop that could turn the tide on Earth’s invaders — if he could only get a little bit better at killing them. To gain the advantage and figure out how and why he’s stuck on a treadmill of live, die, repeat (hey, that’d be a good alternative title), he enlists the help of Full Metal B***h, Sergeant Rita Vrataski (Emily Blunt) to lend a hand and a big f***ing sword.
He might’ve saved cinema with “Top Gun: Maverick” and continued to give the Grim Reaper the finger with every “Mission: Impossible” set piece, but “Edge of Tomorrow” still feels like the most refreshing Tom Cruise outing even after a decade. Cruise’s shift from desk weasel to alien killing machine actually feels solid and believable for a star that we’re pretty sure can do just about anything now. One thing he can’t do here, however, is steal the show; Blunt effortlessly takes it from him the second she arrives to slice and dice time-traveling squid aliens like sushi. The world is still crying out for a sequel to “Edge of Tomorrow” (and we’re still hopeful).