Millie Bobby Brown’s Dark Turn in Netflix’s The Electric State Shocks Viewers

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Warning: SPOILERS for The Electric State are plugged in.

It seems like everyone is harshly criticizing the upcoming 2025 Netflix movie, “The Electric State,” even before its streaming premiere this weekend. The reviews for The Russo Brothers’ latest production have been so scathing that they were labeled as holding nothing back. Some viewers might want to avoid it based on these severe critiques, but I was raised to approach things with an open mind and to dive headfirst into cultural controversies in order to find something positive.

As a movie enthusiast, I must confess, it’s rare for me to align with mainstream opinion, but after watching “The Electric State,” I find myself doing just that. Frankly, I’m taken aback that a production so reminiscent of Steven Spielberg’s blockbusters took such a grim turn in its final act.

The Electric State’s Final Battle Forces Millie Bobby Brown’s Michelle Into An Unexpectedly Bleak Decision

In my perspective as a movie critic, let me put it this way: “If you’ve ever pondered what would happen if the stakes in ‘Ready Player One’ were life or death and the ‘Oasis’ survival depended on a heart-wrenching decision – assisted suicide – then ‘The Electric State’ might be your next must-watch. The story revolves around Michelle, who embarks on a transformative journey, and along the way, discovers an unexpected twist: her long-lost brother Christopher (Woody Norman), thought deceased for years following a tragic car accident, is somehow still alive… or at least, he exists in a way that will challenge everything you thought you knew about life and death.

It appears that his brilliant mind is the only thing preventing Sentre’s digital world from deteriorating, according to its CEO Ethan Skate (played by Stanley Tucci), who put it more colorfully: “from being utterly flawless to becoming a complete disaster.” This seems to be the perspective of directors Joe and Anthony Russo, as well as screenwriters Christopher Markus and Stephen McFeely.

In the realm of cinema, I find myself immersed in the poignant scene where Michelle, once reluctant towards Neurocasters, engages with Christopher – a brother confined by medical custody following his mysterious disappearance. As siblings, we share one last emotional exchange. Overwhelmed by the experiences of the world he’s witnessed through Kid Cosmo bot’s eyes, our young protagonist grapples with guilt for unintentionally assisting Skate in digitally subduing reality. This internal struggle culminates in a decisive moment: a choice that shapes his destiny and sets the stage for the climactic events to unfold.

I think I need to die, and you have to be the one to do it.

As we reach the conclusion of “The Electric State,” it appears the theme revolves around overcoming past sorrow and embracing future possibilities. The question arises as to why Michelle is compelled to kill her brother, despite suggesting his consciousness could persist in a new robot. However, when it seems Michelle and Keats (Chris Pratt) are about to unite through their shared grief, two revelations occur: Herman (Anthony Mackie), Keats’ robo companion, didn’t perish during the final battle, and Christopher’s consciousness did survive within his Kid Cosmo droid.

If this picture had the courage to fully commit to such a significant choice, I might acknowledge its attempt to tackle a profound topic within a seemingly ordinary family-friendly blockbuster. However, The Electric State’s bold move falls short of its intended impact, failing to resonate as powerfully as it strives to convey.

I Don’t Think I’ve Seen A Bigger Betrayal Of Message As What We Saw With The Electric State

As a devoted film enthusiast, I must express my disappointment in the production of “The Electric State”. While I can appreciate the creative inspiration drawn from “Ready Player One”, the misuse of an extraordinary ensemble cast leaves me disheartened. The unconventional piano rendition of “Wonderwall” is undeniably peculiar, to put it mildly.

However, my primary issue lies with how Christopher Markus and Stephen McFeely’s adaptation strays from the poignant message that defines Stålenhag’s graphic novel. The deviation from the original narrative feels like a betrayal of its somber core.

Picture this: What if in the movie “Avengers: Endgame”, Chris Evans’ Captain America, having defeated Thanos, chose to travel back in time instead, staying there to live blissfully with Peggy Carter (Hayley Atwell). As my analysis of Steve Rogers’ Captain America era will demonstrate, this outcome is a point I’ve long found challenging. However, as it turns out, that exact scenario did unfold, making my reservations clear.

If you were to increase that issue’s budget to approximately $320 million and position it as entertainment for all ages, it would result in “The Electric State.” Frankly, I find this infuriating because there was a significant opportunity to delve deeper into the themes of grief and loss within this narrative. In fact, Brian Cox’s character, Base-bot Popfly, has dialogue that seems to encapsulate the intended message of this project.

Funny thing about winning… someone always loses.

If the Netflix original series had centered around a mall inhabited by robots, included human characters who supported their cause, and perhaps made it more engaging, we could have been in for an intriguing film experience. However, that’s not the direction taken in Ted’s Casa, leading to _The Electric State_ being seen as unoriginal, dull, and ultimately, downright terrible.

While I don’t object if families use an entertaining Chris Pratt/Millie Bobbie Brown movie as a means to educate children about assisted suicide, I believe there are alternative, more academic approaches that would be far more effective. However, please don’t let my suggestion discourage you, dear readers.

Perhaps you’re one who enjoys diving headfirst into the latest cultural uproars to form your own perspective. If that’s the case and if you’re brave enough, “The Electric State” invites you to immerse yourself and hang on for the ride. You might find it rewarding, but as far as my personal assessment goes, this production lacks the power to move a toy car.

As a die-hard movie enthusiast, I can’t help but feel a pang of concern over The Russos’ return for Avengers: Doomsday and Secret Wars. Yet, I remain optimistic that this won’t derail the excitement. In some ways, it reminds me of Ready Player One – while I may not have much praise for the story itself, one thing I can certainly appreciate is the electrifying musical score by Alan Silvestri. Even the Oasis cover he’s included adds a bittersweet touch to it all.

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2025-03-15 00:38