The song ‘Yoshimi Battles the Pink Robots, Pt. 1’ by The Flaming Lips is a stunning display of dreamy psychedelic pop, telling the story of a Japanese girl warrior who offers the last hope against machines intent on destroying mankind. This anime-inspired sci-fi tune resonates deeply due to the poignant blend of hope and sadness found in Wayne Coyne’s voice. Despite its fitting nature for the closing credits of ‘The Electric State’ on Netflix, it may unintentionally highlight some aspects that the movie seems to be missing, such as charm, humor, and genuine emotion.
In a sleek yet soul-absent journey through the American Southwest during an alternate 1990s era, co-directors Anthony and Joe Russo confidently display their knack for high-tech playthings in the film. After the releases of ‘Cherry’ and ‘The Gray Man’, the duo carries on their post-Avengers phase of producing movies for streaming services, utilizing large budgets and star power to churn out films that are devoured quickly but leave no lasting cultural impact.
The 2018 graphic novel by Simon Stalenhag, titled “The Electric State,” was effectively brought to the big screen by Christopher Markus and Stephen McFeely, who have often collaborated with the Marvel Cinematic Universe. However, the movie is overly crowded, becoming increasingly overwhelming. Unfortunately, it fails to deliver humor or excitement that one might expect from a film. Like numerous streaming originals, “The Electric State” feels more like a copycat production than an authentic movie. In this case, it attempts to emulate the classic style of Amblin Entertainment, albeit vaguely.
The blend of adventure, humor, and emotion appears to be aiming for a similar vibe as that found in the “Guardians of the Galaxy” series. This feeling is reinforced by Chris Pratt’s performance, which seems remarkably similar to his portrayals in the “Jurassic World” franchise. Additionally, the unique blend of classic rock tunes such as those by Tom Petty, The Clash, and Judas Priest with modern pop instrumentals like “Don’t Stop Believing,” “Wonderwall,” and “I Will Survive” is noticeable.
As the intense battle between benevolent and malicious robots escalated to the level of “Ride of the Valkyries,” I found myself longing for heartfelt robot-themed sci-fi films akin to Brad Bird’s “The Iron Giant” or the delightfully absurd “Short Circuit” by John Badham. In my mind, I even recalled fondly Rosie, the intelligent housekeeper from “The Jetsons.” Rather than triggering nostalgia, movies like these should inspire fresh, engaging stories within the same genre.
In 1990, I found myself right in the thick of things, living life before the great war, alongside Michelle (Millie Bobby Brown) and her cherished younger brother Christopher (Woody Norman). Chris’ extraordinary intellect had him skipping ahead to college at an early age. As if a growing discontent towards robots among humans wasn’t already palpable enough, it reached a peak when Chris’ beloved Saturday morning cartoon show, Kid Cosmo, was taken off the air. This unfortunate event served as yet another reminder of the mounting anti-robot sentiments in our society.
Robots capable of thinking and feeling have become commonplace in our workforce, but when they begin to advocate for their own rights, organize demonstrations, and disobey orders from President Clinton to resume working, it causes unease among the public.
In the year 1994, post-war scenario, we find ourselves with tech pioneer Ethan Skate (portrayed by Stanley Tucci). He has ingeniously created neurocasters – virtual reality helmets – that boast dual functionalities. This means individuals can simultaneously work and play, indulging in harmless VR recreational activities while their robotic avatars tackle the challenging tasks in a grimy, futuristic reality.
Michelle, left as an orphan, found herself under the care of the state and living with Ted (portrayed by Jason Alexander). Ted, a lazy and exploitative individual, spends most of his time watching Vegas showgirls on a device called a neurocaster while his AI counterpart engages in contentious debates with the rebellious teenager.
Michelle thinks that Chris met his end in the same car crash that claimed their parents’ lives. However, when a robot resembling Kid Cosmo, with a round yellow head and a toothy grin, appears in her room (voiced by Alan Tudyk), she swiftly dismisses her doubts and recognizes it as Chris’s robotic counterpart. This implies that the biological Chris is presumably still alive somewhere.
After their rebellion ended unsuccessfully, robots were shut down and banished to “Rest Areas,” which is now called the Exclusion Zone – a forbidden region in the Southwest desert where old prewar items are kept. The packages that Ted bought from an undercover dealer led Michelle and Cosmo to New Mexico.
They link up with smuggler Keats (Pratt) and his humorous robot companion Herman (Anthony Mackie), who owns a warehouse packed with various items such as the famous animatronic singing fish named Big Mouth Billy Bass, Cabbage Patch Kids, plush toys, and even illicit goods like Spam. Before Keats can escape from Michelle and Cosmo, Colonel Bradbury (Giancarlo Esposito) from the Robot Deactivation Task Force arrives with guns firing, compelling them to join forces and run away.
The motion capture work for the robots is not only sufficient but also demonstrates a great deal of creativity, as they’ve been designed to look distinct from typical AI machines. However, these cartoon-inspired automatons start appearing overly cute quite quickly, and the excess of non-essential characters is merely one indication of the film’s growing tendency towards the exhausting notion that “larger is better.
Frequently, the Russo brothers introduce unusual elements or unexpected twists into their stories, which appear to be more for visual impact than story development. The only explanation for a beefed-up Herman, a mechanical matryoshka with multiple exoskeletons, transporting Keats, Michelle, and Cosmo in a Volkswagen bus seems to be that it creates an eye-catching scene: a giant robot lifting a vintage VW with one arm and running across the Monument Valley desert.
(Or)
The Russo brothers frequently add unique elements or plot twists that seem geared towards creating spectacle rather than advancing the story. For instance, why would a muscled-up Herman, a mechanical matryoshka with a range of exoskeletons, transport Keats, Michelle, and Cosmo in a Volkswagen bus? It’s probably because it makes for an exciting visual: a giant robot lifting a classic VW with one hand and sprinting through the Monument Valley desert.
As a gamer, I find myself delving deeper into the game’s narrative when I stumble upon Dr. Amherst, the deceptive hospital surgeon who tricked Michelle into thinking her brother was gone forever. This enigmatic character leads me to an isolated robot community hidden in the desert. The doc seems to believe these mechanical beings can regain respect and acceptance among their peers.
Among this group of robots, I encounter some intriguing characters: Mr. Peanut, a folksy fellow with a knack for storytelling (portrayed by Woody Harrelson), Popfly, a feisty bot who can blast baseballs out of the park (Brian Cox), and Penny Pal, a cheerful U.S. Postal Service robot (Jenny Slate). Each one adds their unique flavor to this captivating digital world.
Indeed, hints about the true Chris’s whereabouts and role suggest we’re dealing with Skate, a character who sees himself as a savior for humanity yet doesn’t shy away from unintended consequences. Given his background of abuse, it seems that many modern antagonists are molded by their traumatic pasts. When our group of rebels and outcasts gather at Skate’s base, it’s only natural to expect a conflict on a scale befitting the Marvel universe.
This climactic sequence aims to provoke a profound emotional release, often associated with shedding tears, through Alan Silvestri’s powerful music score. However, such an effect might be difficult to achieve due to the lack of depth in the characters, which often don’t extend beyond two-dimensional personas. The performers are eager and versatile, but their roles here seem devoid of any real reward or impact. The blend of live action and animatronics doesn’t seem to spark any enchantment, and this applies equally to the skilled voice talents, among whom Colman Domingo and Hank Azaria appear in smaller parts.
The film’s theme that people need to disconnect from technology to rekindle personal connections seems overly familiar. However, it carries more weight when it comes from a source like Netflix, the Realm of Algorithms.
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2025-03-07 18:25