The Electric State: Stunning Visuals, But Russo Brothers Need a Career Rethink

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Originating in 2018 as a vividly pictorial narrative penned by renowned Swedish artist Simon Stålenhag, The Electric State takes you on an extraordinary voyage through a time period that never materialized yet seems just as genuine as any historical account. The captivating fusion of past, present, and future styles is reminiscent of other contemporary alternative history media, such as Fallout, The Last of Us, and another adaptation by Stålenhag, Tales from the Loop.

The Electric State

Debut Date: The film will be launched on March 14, 2025
Behind the Scenes: Directed by the duo Anthony Russo and Joe Russo
Script: Written by Christopher Markus and Stephen McFeely
Main Cast: Millie Bobby Brown, Chris Pratt, Stanley Tucci, Woody Harrelson, Alan Tudyk, and Giancarlo Esposito
Rating Advisory: This movie is rated PG-13 for its depiction of sci-fi violence/action, strong language, and some mature themes.
Running Time: The film has a duration of 128 minutes.

In transitioning from print to screen as a 1990s-based adaptation that pushes the boundaries of “live-action” much like some contemporary Disney remakes, The Electric State regrettably fails to live up to the original’s distinctiveness and whimsy – despite having an abundance of talents, both on-screen and off. It would be quite a challenge for anyone to fully encompass the book’s inherent appeal, but it seems Netflix’s vast resources might have been enough to create something more lasting.

Under the guidance of Anthony and Joe Russo, directors known for their successful transition from TV comedies to large-scale Marvel productions, The Electric State seems akin to visually appealing dishes in fast food advertisements – aesthetically pleasing yet lacking much of the nutritional content required to keep one’s mind engaged. While this might suffice if we were all devoid of biological functions, my preference as a human is for more substantially nourishing content.

Anthony and Joe Russo are as skilled as can be at directing CGI-filled spectacles.

The Electric State” is set in a world reminiscent of “The Jetsons”, where commonplace household robots were prevalent until a global conflict known as Us Vs. Them decimated the peace, forcing surviving automatons to gather in an area called the “Exclusion Zone”. Humans are barred from this zone. Millie Bobby Brown portrays Michelle, a teenager who shuns technology, as she lost her family, including her genius brother Christopher (Woody Norman), during the devastating war. Despite the passage of years, she continues to grieve for her loved ones.

In her encounter with a robotic figure resembling a popular cartoon character, Michelle uncovers an extraordinary revelation: this automaton seems to hold the vital spirit of her brother. This discovery leads her down a complex path involving a secretive corporation spearheaded by Stanley Tucci’s Ethan Skate, which merges reality and virtuality through a platform reminiscent of both “Ready Player One” and “District 9”. Periodically, the storyline unfolds with substantial expository passages.

In 2017, the rights for Stålenhag’s book were obtained by the Russos (directors of Avengers: Infinity War), but initially, they didn’t intend to direct the adaptation themselves. Their collaborators, Christopher Markus and Stephen McFeely, took care of the script. Later in 2020, they agreed to lead the project as a follow-up to their movie with Chris Evans, titled The Gray Man. In 2022, Netflix entered the production process.

As I sat down to watch this film, it was evident that a tremendous amount of time was devoted to the meticulous planning and design phase. The Exclusion Zone, teeming with droids and mechanoids, showcases an impressive level of pre-production work. From the subtly enhanced landscapes to the carefully crafted U.S. skylines, every detail exudes careful attention. It’s undeniable that the Russo brothers have spared no effort in creating visually stunning CGI effects, making this film one of their most visually impressive works to date, even in the silent world of a vacuum-bot.

For all the gorgeous visuals that honor the source material, The Electric State’s story and dialogue are entirely predictable and forgettable.

The vibrant and unique collection of digitally crafted machines is an astonishment brought about by contemporary technology, however, the screenplay attributed to the Russos’ regular partners Christopher Markus and Stephen McFeely in “The Electric State” seems less modern. Its grand themes of conquering hardships and questioning capitalist consumerism are everlasting, yet its plot points and dialogue could have been written for a 1993 script that someone in this movie discovers near a broken printer in the EZ.

I’ve observed numerous variations of this story, as Michelle in Brown’s portrayal demonstrates and needlessly conveys through awkward dialogues. Frankly, I’m not convinced that Chris Pratt’s Keats character actually has a narrative to share, given a performance reminiscent of a MAD Magazine fold-in combining Star-Lord and Andy Dwyer. The talented ensemble cast, including Stanley Tucci, Giancarlo Esposito, Jason Alexander, and Ke Huy Quan, are unfortunately stuck with flat, one-dimensional roles that solely advance the plot, and their performances are further limited due to being presented through low-resolution face screens.

At the onset of the film, shortly after Kurt Loder’s initial exposition and an impersonation of Bill Clinton, I found myself yearning to disregard the human characters and immerse myself in the intricate details of every robot in this universe. Silently wishing for a chance encounter with Futurama’s Hedonism bot, I was captivated by Cosmo Kid, voiced by Alan Tudyk, who despite having a fixed expression and limited phrases, delivered a more compelling performance than the rest of the cast.

Instead of being a standalone version of “The Electric State”, it could have been a spinoff that solely centered around intriguing inventions such as the stage-magician bot Perplexo (portrayed by Hank Azaria), the elderly baseball-loving droid Popfly (Brian Cox), the kind postal worker Penny Pal (Jenny Slate), and the local leader Mr. Peanut (Woody Harrelson). In this adaptation, Anthony Mackie’s character, Herman – the sidekick of Keats’ nesting-robot played by Chris Pratt – has the most dialogue, giving him a feel reminiscent of classic Saturday Morning cartoons.

What left me puzzled about this costly film is that I recall merely a handful of instances where humor seemed to be intended, and not once did it make me laugh. Granted, Pratt doesn’t deliver nonstop jokes, but one comedic scene involving Keats instructing Michelle to use the alias ‘Veronica,’ which she confuses with ‘Beronica,’ didn’t resonate humorously with me.

For clarity, the humor in that situation could only have been effective in the initial issue of Archie Comics, a publication that was already 55 years old when the amusing confusion occurred.

The Russos should always make memorable characters a bigger priority than complicated plots or special effects.

It’s clear that Markus and McFeely’s script might have benefited from adding some explanatory parts and a touch of humorous flair. However, I believe one weakness in The Electric State stems from Anthony and Joe Russo straying so far from their original directing style. It seems that elaborate spectacle and grandeur often overshadow the development of memorable characters – at least when they’re not working within the Marvel Cinematic Universe.

Indeed, it’s clear that I am deeply fond of many of their directorial works, which primarily consist of comedies for television – series such as Arrested Development and Community. These shows are well-known for their intricate storylines and boundary-testing narratives. However, they also share a common trait with productions like the Avengers films, in that they effectively showcase numerous characters, allowing each one to make a significant impact amidst the chaotic backdrop, thereby enhancing the overall experience.

Despite the unique computer-generated imagery scattered throughout, The Electric State fails to provide any of its lifelike characters with an iconic moment worthy of fan art creation, nor does it offer a line of dialogue likely to become a popular cultural phrase. I’m hard-pressed to recall if Pratt’s character had a clear purpose or objective, which is not what fans of the Russos typically anticipate.

The MCU’s brothers still have tasks ahead, but when they move on to other narratives outside Marvel, I can only wish that they will revert to focusing on characters first. If these stories also turn out to be captivating with stunning visual effects, then fantastic! By the way, could someone lend me a VR headset?

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2025-03-13 23:41