Believe it or not, once in time, Robert Pattinson was not considered a top actor. Sad, but true! To be fair, there were many mitigating factors about this, the main among them the fact that he exploded at the scene as a male guidance in the "twilight" saga, finding epicenter of that suspicious pop-cultural phenomenon. Despite the hordes of screaming young fans who go wild for the English actor, based on his beauty (and the desire to fulfill his desire, his "Twilight" character, Edward Cullen, represented), the dismissal of Pattinson by Snoti people at the time (including my past).

After all, almost immediately after his term in the Twilight films, Pattinson used his new plant to become a starvet to be considered. He doubled in collaboration with cerebral Canadian provocateur David Cronenberg, appearing in both "Cosmopolis" And "Embroidery Maps". That Double Wims have signaled his interest in working with challenging, independent, Archaus's directors, and he has continued to appear in the films of the likes of Brady Corbet, Jameseims Gray, the Safdi brothers, Zelner's brothers, Claire Denis and Robert. Even when she chose to return to mainstream blockbuster material, it was with Christopher Nolan (for "frequency") and Matt Reeves, who gave a whole new group of fans screaming by throwing it like New Bruce Wayne in Batman. (As Pattinson recently woke upThese fans are now mostly male but no less furious.)

During his career in the screen, Pattinson has proven his acting chops many times, and this includes his work in the saga "Dusk". Although he did a fantastic work in a number of properly well -highly valued films, he felt like he had not yet achieved a signature role in competing with or perhaps even surpassing Edward in public awareness, though Connie in "Good Weather" and Winslow in the "lighthouse" approached. However, with the release of Pattinson's latest film, "Mickey 17" by Bong Oonun Hoe. That achievement has arrived.

The actor's play in "Mickey 17" is absolutely superlative and is likely to become the new benchmark for all his work.

On paper, Mickey Burns' role in "Mickey 17" looks like an exhibition for which the actor will end up playing. The film, based on the novel "Mickey7" by Edward Ashton, follows Mickey as he tries on a trip to the proposed new human neighborhood, the only way he is able to shortly: by reporting to be "spent", someone who is legally used to use as a human being. Most of the film includes complications that occur when Mickey 17, who is left dead by his untrustworthy friend Timo (Steven Hun), does not die, though Timo informs the scientific team that he has expired. So, Mickey 17 returns him to the ship, just finding his replacement, Mickey 18, after he was already reprinted and assumed his life.

Obviously, the possibilities of "Mickey 17" represent an actor are numerous. Not only is it a dual-role scientific story, where the actor has to play against himself, but the film is also a wise satire, where Mikis 17 and 18 represent everything from a righteous revolutionary to film, noir-esk, a figure similar to work, which carries the weight of the sins of humanity. There are one ton of layers to the section and so much of the film depth, most actors could get lost in all possibilities. However, not Pattinson, who proved that he is not the type of actor for a self-serious method, nor is he a pretty boy. He is a unique cheat all of his ownAnd In most interviews for the movieHe discussed the various stupid approaches he had to the character.

Patinson has a name checked, from Akkecas to "Stupid and Damber" to Steve Buskemi in Fargo in his inspiration for his performance, all of them brilliantly subversive, weak film elections supplemented by political and social satire. Pattinson clearly understands and seizes the opportunities that the role gives him and made the most of each scene. However, it never feels the feeling that he is trying to prove himself or sell the character too hard, which is evidence of an artist who inherently knows his skill and his value.

Of course, the work of the actor on the screen is as good as his director, and fortunately, Pattinson chose to work with another master in Bong Oonun Ho. The fact that Pattinson is constantly choosing to work with proven directors is additional proof of how much he takes his craft seriously, as this shows how aware that good material is only just means that he will look much better in return. In this regard, director Bong rises on this occasion, giving Pattinson a bunch of large circles (in the format IMAX, no less), as well as allowing him to perform in several long, continuous downloads. Mutual respect between the director and the Starwar in "Mickey 17", as Pattinson appears to be too happy to allow director Bong to record it in various states of anxiety or trouble, with Mickey often visibly ill, tormented, beaten or flat.

What is most impressive is how director Bong chooses some unprecedented colors of "Pattinson" actor in the film. We saw that Pattinson was charming and attractive in numerous films, we saw him rejoiced, we saw him angry, and we certainly saw him participating in some sexually freaky situations while he was in space before (Thanks, "High Life"). However, we have rarely seen it as pathetic as Mickey 17, and Pattinson shows no fear of making this character meek to the point of unusual. Perhaps Pattinson was encouraged to make that choice as Mickey 18 is at the other end of the spectrum, his bitter, nihilistic anger of the world and his situation that makes him a little strong for comparison. With both Mickey, you can't have a better capsulation of Pattinson's wide range as a leading artist.

During the history of the cinema, countless actors found themselves in the type, or in a certain type of role or a certain type of film. This writing is usually a by -product of the show business business, of course, because only for every actor worth their salt can perform a variety of roles in a wide range of films. However, most Starswells tend to stay in their given places to continue to earn a living in what is, at best, an uncertain profession. Thus, it is rare for a Starwar to regularly empty between large blockbusters and small indie films. While most will dip their fingers in the other on the occasion, there is really too much to balance the two.

With "Mickey 17", Robert Pattinson seems to strengthen his ability to do both, almost at once. This could be a little harmful, as the film is sold as a large budget scientific adventure (which is reportedly) even though the film itself is far deeper and a foreigner from today's audience has come to see science fiction. While some people could really see "Mickey 17" and be too delayed by his terrible digress, others will be attracted to the winning charisma of Pattinson and the character, just to find the depth of film and idiosyncrasies. Although of course most of the loan for "Mickey 17" and his triumphs go to Bong Oonun Ho, it must be said that Pattinson's presence is a key boon for the film.

Indeed, Pattinson laid the foundations not only for his career, but about how it continues to be perceived. All those screaming teenagers during his years "Twilight" are now adultsAnd he rewarded their loyalty by continuing to impose himself instead of relying on his laurels and popularity. "Mickey 17" is the culminating work of the actor who is in the profession for all the real reasons, and the only thing more exciting than what Pattinson does in the film is what he can do next.

"Mickey 17" is in cinemas everywhere.