Mickey 17

Bong Joon-ho’s Mickey 17 is full of eccentrically grotesque tropes that disguise a fundamentally derivative, somewhat simplistic plot. Mickey and Nasha, the romantic couple at the center of the disquisition, are reminiscent of Winston Smith and Julia in1984. The concept of dehumanization by replication recalls the marketing of organs in Ishiguro's Never Let Me Go. In this case Mickey is an "expendable." You have replicants like Mickey on the one hand then a race of ghoulish "creepers" who are victims of the local Trump clone, Kenneth Marshall (Mark Ruffalo). The first lady, Ylafa Marshall (Toni Colette) makes sauces from the tails of baby "creepers." Parasite was a complex meditation on society and the structure of the human mind itself. The director’s ambition remains yet the result is constrained by the techno-tyranny that's the movie's palette. Parasite is a large armoire with many drawers and secret compartments while Mickey 17 is little more than a funhouse mirror. Every great director has to flex their muscles and prove their mettle by entering the commercial blockbuster sweepstakes. Not to diminish the huge ambition of Parasite, but this is Bong Jong-ho's Godfather (in fact Ruffalo does at times look at little like Brando as Vito Corleone in the way spittle emerges as he smacks his lips). The director parodies the AI generated universe he's created to make the movie; he's graduated from human parasites to a race of unearthly creatures. He's even got the lemmings.  

and listen to "The Tracks of My Tears" by Linda Ronstadt