The distinct lack of tension and cursory profiling provides blithe unemotional stakes. This is rather disappointing fare
A still from The Electric State
The Electric State
Cast: Millie Bobby Brown, Chris Pratt, Woody Harrelson, Ke Huy Quan, Giancarlo Esposito, Stanley Tucci, Anthony Mackie, Brian Cox
Director: Joe Russo, Anthony Russo
Rating: 2/5
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“The Electric State,” the new movie directed by Joe and Anthony Russo for Netflix, is a retrograde sci-fi that tells a post-apocalyptic tale that highlights how humanity triumphs even at a time when robots and humans are at war with each other.
Adapted in slapdash fashion by MCU collaborators Christopher Markus and Stephen McFeely from the 2018 illustrated novel of the same name by Swedish artist Simon Stålenhag, the film fails to be likable because it is annoying. It begins with the alternate-universe history of the 1990s, including a war with robots, and goes on from there.
After the war, robots are now outlawed. But Millie Bobby Brown’s Michelle, discovers that the consciousness of her much-beloved brother Chris, who died in an accident, is residing in a bot named Cosmo. A series of clues tells Michelle she needs to get to a remote and, forbidden spot called “The Exclusion Zone.” She is also wanting to escape from her abusive dad (Jason Alexander) who is addicted to a virtual-reality headset. So she sets off with Cosmo and soon enlists a scavenger outlaw (Chris Pratt) to help, albeit reluctantly.
Ethan Skate(Stanley Tucci), an evil tech mogul who owns all the towers that run the headsets also has a private army of human-controlled legal robots called drones.And he is doing his best to wipe out the robot threat.
The story is rather implausible and the Russo’s storytelling style puts you off. Millie Bobby Brown, as Michelle is gravitating but Pratt doesn’t appear to have come out of his “Guardians of the Galaxy” mode. Star voices of the robots, including Woody Harrelson, Jenny Slate, Anthony Mackie, and Brian Cox have little effect.
Man vs. machine in a retro-futuristic adventure is neither exciting nor scary. The narrative keeps busy but makes very little sense. Adventure, comedy and sentiment don’t mesh well here. Vintage rock numbers from Tom Petty, The Clash, Judas Priest and pop instrumentals like “Don’t Stop Believing,” “Wonderwall” and “I Will Survive” only act as window dressing.
The distinct lack of tension and cursory profiling provides blithe unemotional stakes. This is rather disappointing fare.
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