If you finished shaking the snow from Niflheim and chose your preferred pet size to get home, you are probably in the mood for another scientific party as "Mickey 17." The bong oonun-ho 17. " The latest Oscar -winning film comes with two Robert Pattinson for the price of one (well, 18 Robert Pattinson if you consider all the previous multiples lost to external space accidents). Patients occupy an attractive scientific world that sometimes feels like the most expensive episode "Doctor" he has ever done, and we say it with the greatest respect. "Mickey 17" is a kind of refreshing and bold movie we need more than ever, but also shared DNA with a few other gems you can see right now.

We have compiled a list of great post-views after Mickey 17 that share the same vibration, themes and wonderful bizarre ideas that even the bong Oonun-Ho himself would probably enjoy watching (mainly because he directed some of them). Therefore, clean the queue and immediately add them to your list of bothering - starting with Netflix's neglected gem that shows the LOVEBOOK of Bong for Science Fiction and Bonkers Bonvers to equal measure.

Before the "Parasite", the Bong Oonun-ho filmography was a mixed bag of wild worlds and neo-infiltrate thrillers. Situated somewhere between "Pete Dragon" and "Babe", the epic story of Bong "Okya" follows a girl who must cross the waters and brave foreign countries to save her genetically modified (and incredibly cute, hypo-large pig, Okaya.

Featuring an extremely impressive role, as well as the previous Bong film "Snowyer", extends over his native South Korea, "Okaya" shows some big names of their most beautiful and funniest heinous. Akeeke Gillenhal plays the crazy zoologist Johnoni Wilcox, while Tilda Swinton gives a remarkable performance as CEO Lucy and Nancy Mirando. Both are on the scenes on their side, along with the likes of Steven Jun, Paul Dano and Ianankarlo Esposito, but in the heart of the story is Ahn Seo-Hyun Mia, who simply wants to take her friend at home.

The brilliance of this film lies in its brutal and incessantly honest nature, wrapped in what feels like a family friendly. This is not a "powerful oeo yang" or "free villas", though. "Okya" is a story that ensures that you see when the worst of the worst comes for our bad movie mascot, oblique, lighting the light of the horrors in the real life of mass food production. The characteristic of the Bong creature can turn your stomach, but it is difficult to look aside.

What should be said about the "parasite" that has not already been said? Bong carefully constructed a masterful satire of the social class in his 2019 film, which felt like the culmination of his best work to that point. Homemade invasion movie like no other, the biggest victory and a will for the possibility of telling the director's stories is that he revolves around the genres he has previously considered, like Kim's family, Typit around their home away from home.

What will be lowered as one of the most famous moments that caress at the Cob in the recent history of the film, however, is the discovery of the middle film about what is in the basement, taking us even deeper into a perfectly layered story. Hence, Bong raises the tension over the highs he had already kept his audience for so long. Some directors may fight such a balancing act, but here, he makes it look easy and keeps all exactly where to be as long as the film's final loans allow us to get off the edge of our places. If, by some miracle you managed to miss this Oscar's four -time winnerThen now is the time to find out why he deserved all the attention. And if you've already seen it, here's the excuse to just look at it again.

If you like a chalk and cheese combo from the same actor who steps on his fingers as Robert Pattinson does in "Mickey 17", then you may have fun with Richard Ayad's dark comedy triller. Essie Eisenberg plays the drama, down-to-not office worker at the Simon Jameseims office, which has its world's world when the company works, receives a new accessory to the staff that looks true like him. Ams Simon (also Eisenberg) is all Simon wants to be, and his Dopelganger knows that. Since those around him ignore the fact that this new accessory that looks true like him, Simon fights his twin for his identity in an surreal but funny movie to fight to become everything you could be, but no.

Eisenberg is making great effort not only to bring his signature style as an unpleasant character in his own skin, but also to master a character who is perfectly comfortable in it. There is also a series of skillfully applied humor during the film, which is understandable as Ayad made a name for himself in the British series of comedy "IT Crowd" and with an equally miraculous film, "Submarine". This choice of radar deserves more attention, so be dear and give it.

Duncan Onesons's excellent isolated entrance, "Moon" is another space film that tackles the idea of ​​identity, as well as "Mickey 17". Easy one of the best scientific movies ever madeMoon sees Sam Rockwell giving a human show like Sam Bell, Space World, which reaches the end of the time needed for the moon, just to meet a problem. After the accident of his space rover, Bell finds unconscious Dopelganger, causing a serious part of self-reflection and the discovery that he is not as alone as he thought his time in space was much longer than he imagined.

A brilliantly executive concept with Rockwell, which gave it all, and then some, "Moon" was a small film of science that made a significant impact. Unlike the hustle and bustle of the brutal blunt colony world in "Mickey 17", "The Moon" progresses because of its limitations and the expert handling of the image caught in the center of it. Rockwell goes alone, though with additional help from artificial intelligence expressed by Kevin Spacey (yes, we know), it never ages. There is a much stronger grip on the matter of one's own identity than it is near "Mickey 17", even if it never takes it completely. Give the "moon" clock (or redirect) immediately.

Duncan Onesons' monitoring of the Moon was a nail bite that combines the fantastic elements of the "Field Day" and "Quantum Jump". In "Source Code", Akeeke Gyllenhal is located in the body of a convicted train traveler to explode, granted to revive the last eight minutes of the trip in order to identify the bomber. Once again, Onesons cope with the question of the character living in repetition, while he rarely goes beyond the boundaries of roller coaster, he planted his hero. Gilenhal, as always, gives a great performance as a man trying to make every second.

The support of Vera Farmiga and Effeefrey Wright has been added as his allies out of time, in charge of breaking the bad news that this mission will not go the way he and the audience hope. The Starwar of the White Lotos Michelle Monahan also adds charm as a stranger that destroys it during the chaos, which we get totally. It is a shame that after this, the work of Onesons was a bit of a boxing bomb that was "Warcraft" and the science accident that was a "muse". However, the "source code" still stands as a science that is worth questioning constantly, and oh boy, which is a great small nod of "quantum jump".

Doug Liman's "Edge of Tomorrow's Day" sees Tom Cruise done something we haven't seen for decades: traveling to a real hero, though the one where the hero dies on the road. During a foreign invasion that has humanity on the back heel, Major William Cage (Cruz) finds himself caught in a time loop that could turn the tide of the attackers on Earth - if he could improve a little better to kill them. To get the advantage and find out how and why he is stuck on a live treadmill, die, repeat (hey, that would be a good alternative title), he lists the help of the full metal b *** h, the sergeant Rita Vrita (Emily Blunt) to borrow a hand and a big sword.

He may have saved the cinema with "Top Gun: Maverick" and continued to give his finger to Grim Ripper with every piece of "impossible", but "Edge of Tomorrow" still feels like Tom Cruise's most conscious exit even after a decade. Changing the cruise from the desk to Weasel in Alien Killing Machine actually feels firm and credible to a starvet that we are pretty sure can do something for nothing. One thing he can't do here, however, is to steal the show; Blunt takes the second that arrives from him to cut and gamble the time traveling with squid like droughts. The world is still shouting for a sequel to "Edge of Tomorrow" (And we still hope).