If you have finished shaking Niflheim snow and you have chosen your favorite size of pets to bring home, you are probably in mood for more science fiction like “Mickey 17” by Bong Joon-Ho. The latest film by the Oscar -winning director is delivered with two Robert Pattinsons for the price of one (finally, 18 Robert Pattinsons if you count all the multiple previous ones lost against the space misadventures). The pattinsons occupy a captivating science fiction world which sometimes resembles the most expensive episode of “Doctor Who”, and we say that with the greatest respect. “Mickey 17” is the kind of refreshing and daring film we need more than ever, but he also shared DNA with a handful of other science fiction jewels that you can watch right now.

We have compiled a list of excellent hours after “Mickey 17” who share the same atmosphere, the same themes and the same ideas wonderfully bizarre as even Bong Joon-Ho himself would probably like to look (mainly because he directed some). So erase your queue and immediately add them to your surveillance list-starting with a neglected Netflix gem that presents Bong’s love for science fiction and crazy Bestties to an equal measure.

Before “Parasite”, Bong Joon-Ho’s filmography was a mixed bag of wild worlds and neo-black thrillers. Nestled somewhere between “Pete’s Dragon” and “Babe”, the epic story of Bong “Okja” follows a girl who must cross courageous foreign waters and land to save her genetically modified (and incredibly adorable and hippopotame, Okja.

With an extraordinarily impressive cast which, like Bong’s previous film, “Snowpiercer”, extends beyond its native South Korea, “Okja” highlights big names in their ully and most ridiculous. Jake Gyllenhaal plays the crazy zoologist Johnny Wilcox, while Tilda Swinton offers remarkable performance as CEO Jumeaux Lucy and Nancy Mirando. The two are full-fledged stage thieves, as well as Steven Yeun, Paul Dano and Giancarlo Esposito, but at the heart of the story is Mija of Ahn Seo-Hyun, who simply wants to bring her friend home.

The brilliance of this film lies in its brutal and flawless nature, wrapped in what looks like a family film. It is not “Mighty Joe Young” or “Free Willy”, however. “Okja” is a story that makes sure you watch when the worst of the worst comes for our poor mascot of films, obliquely enlightening a light on the real horrors of mass food production. The Bong creature function could turn your stomach, but it is difficult to look away.

What to say about the “parasite” that has not already been said? Bong has carefully built a masterful satire of social class in his 2019 film, which looked like a highlight of his best work to this point. An invasion of home invasion like no other, the biggest victory and the testimony of the director’s narration capacity is that he is on the tip of the genres in which he is previously immersed, like the Kim family themselves on the tip of their feet around their house far from her house.

What will happen as one of the most outlined moments in the history of recent cinema, however, is the revelation of Mi-Film of what is in the basement, taking us even deeper into a perfectly superimposed story. From there, Bong increases the tension beyond the summits in which he has already kept his audience for so long. Some filmmakers may find it difficult to balance, but here it makes things easy and keeps everyone precisely where they must be until the final credits of the film allow us to move away from our seats. If, by miracle, you managed to miss this Oscar winner four timesIt’s time to find out why he deserved all the attention. And if you’ve ever seen it, here is the excuse to watch it again.

If you like a combo with chalk and cheese of the same actor who walks on his own toes like Robert Pattinson in “Mickey 17”, then you could have fun with the dark comedy of Richard Ayoade “The Double”. Jesse Eisenberg plays the dull, the lucky office worker Simon James, who has his world shaken when the company for which he works obtains a new addition to the staff that looks exactly. James Simon (also Eisenberg) is all Simon wants him to be, and his doppelgänger knows it. While those around him know the fact that this new addition that looks exactly like him, Simon fights his twin for his identity in a surreal but funny film on the battle to become everything you might be, but no.

Eisenberg makes a great effort to not only bring his signature style as a uncomfortable character in his own skin, but also to master a character who is perfectly comfortable. There is also a skillfully applied humor sequence throughout the film, which is understandable since Ayoade has made a name for itself in the British comedy series “The It Crowd” and with the just as eccentric film, “Submarine”. This choice under the radar deserves more attention, so be an expensive and give it.

The excellent isolated entry of Duncan Jones, “Moon” is another spatial age film which tackles the idea of ​​identity as well as “Mickey 17”. Easily One of the best science fiction films never made“Moon” sees Sam Rockwell offering a spectacle to a single man like Sam Bell, a Spaceman who reaches the end of his time required on the Moon, only to encounter a problem. After an accident on his space rover, Bell finds an unconscious double, triggering a little self-reflection and the discovery that he is not as alone as he thought, and that his free time in space was much longer than he imagined.

A concept brilliantly executed with Rockwell giving him everything, then some, “Moon” was a very small science fiction film which had a significant impact. Contrary to the bustle of the world of the colony brutally blunted in “Mickey 17”, “Moon” prosperous because of his limits and his expert manipulation of the character taken at the center of this one. Rockwell by making a rider alone, although with the additional help of an artificial intelligence expressed by Kevin Spacey (yes, we know), never ages. He has a much firmer grip on the question of his own identity than the engravings “Mickey 17” near, even if it never prevents it entirely. Immediately give a “moon” watch (or a rewatch).

The follow -up of “Moon” by Duncan Jones was a bitre of nail that mixes the fantastic elements of “Groundhog Day” and “Quantum Leap”. In “Source Code”, Jake Gyllenhaal finds himself inside the body of a passenger on a condemned train which is about to explode, attributed to relive the last eight minutes of the trip to identify the bomber. Once again, Jones skillfully manages the question of a living character life in rehearsal while rarely emerging from the limits of the roller coaster on where he planted his hero. Gyllenhaal, as always, offers excellent performance as a man trying to do the account every second.

There is additional support from Vera Farmiga and Jeffrey Wright like his allies out of time responsible for announcing the bad news that this mission is not going in the sense that he and the public hope. The star of “White Lotus” Michelle Monaghan also adds charm like the stranger he crushes during chaos, which we fully get. It is a shame that after that, Jones’ work was slightly derailed with the bomb at the box office which was “Warcraft” and the failure of a science fiction which was “muse”. Nevertheless, the “source code” is always a science fiction which is worth revising several times, and Oh Boy, what a great nod to “Quantum Leap”.

“Edge of Tomorrow” by Doug Liman sees Tom Cruise doing something that we have not seen him for decades: a real journey of a hero, although the hero dies a lot along the way. During an extraterrestrial invasion that has humanity on the rear heel, Major William Cage (Cruise) finds himself caught in a time loop which could turn the trend of the invaders of the earth – if he could only improve a little to kill them. To gain the advantage and understand how and why it is stuck on a live treadmill, Die, repeat (hey, it would be a good alternative title), he enrolled the help of Full Metal B *** H, Sergeant Ritas Knutaski (Emily Blunt) to lend a helping hand and a large F *** ING sword.

He may have saved the cinema with “Top Gun: Maverick” and continued to give his finger Grim Reaper with each play “Mission: Impossible”, but “Edge of Tomorrow” always feels like the most refreshing Tom Cruise release even after a decade. The passage of the Cruise from the desktop belet to the extraterrestrial killing machine is actually solid and credible for a star that we are almost sure that we can do anything now. One thing that he cannot do here, however, is to steal the show; Blunt takes it effortlessly the second where she arrives to decide and dismantle calmar foreigners as sushi. The world is still crying for a suite of “Edge of Tomorrow” (And we always hope).