THE ELECTRIC STATE -- A Patchwork Quilt of Sci-Fi Tropes

Review by Jonathan Berk

There was once a time when seeing Joe Russo and Anthony Russo’s names attached to a film would spark true excitement. Captain America: The Winter Soldier and Captain America: Civil War were two early favorite Marvel films, which serve as great examples of this. Then, they were given the keys to the two biggest Avenger films – Infinity War and Endgame – that were major box-office successes and fan favorites. However, since then, they've had two directorial failures in both Cherry and The Gray Man, with neither being well-received. While the brothers have no problems pulling talent into their projects, there does seem to be something missing in the execution. Their new film, The Electric State, has many familiar faces treading through even more familiar genre tropes that never truly spark.   

In an alternate '90s, the Sentre corporation's drone program led to human victory in a robot-versus-human war. Now, humans escape into a virtual world and live vicariously through drone robots. Michelle (Millie Bobby Brown), an orphaned teen, encounters a mysterious robot who claims to have information about her brother, whom she believed had died with their parents. They must venture into dangerous territory and seek help from a smuggler named Keats (Chris Pratt) and his robot ally, Herman (Anthony Mackie). Of course, the dangerous terrain is not their only enemy, as Ethan Skate (Stanley Tucci) and Colonel Bradburry (Giancarlo Esposito) each seek to stop them from finding what they seek. Rounding out this robust adventure setup is Woody Harrelson, who plays Mr. Peanut, the leader of the robot revolution.   

The plot is a bit convoluted, yet straightforward. A young girl believes she has lost everything that mattered to her, only to find out that there is a chance her brother is, in fact, alive. She also rejects the virtual reality that the rest of humanity escapes into, but she doesn’t hate robots like everyone else. Her family wasn’t killed by robots, as one might predict, but rather by a freak car accident. These "character traits" are ultimately tied to the film's theme about being connected and not becoming isolated by the virtual world—a clear allegory for our smartphone-centric world. While there is a big preachy monologue wedged in here to ensure that the audience gets the point, it doesn’t feel as authentic or insightful as it seems to think it is.   

To be fair, audiences probably aren’t coming to a film like this with the hope of finding a new philosophical paradigm that they can subscribe to. Instead, they are likely hoping to enjoy some laughs, be awed by action, and be enveloped by a unique science fiction landscape. Those elements are present this movie, but have been done better in several others. For example, The Hitchhiker’s Guide to the Galaxy would be a far better use of one’s time than checking out the latest Russo joint. Furthermore, Blade Runner, I, Robot, Real Steel, and even Chappie offer better takes on human and robot relationships. While there is always room for new interpretations of a topic or genre in film, The Electric State feels more like a patchwork quilt that only serves to remind the audience that potentially better things that would satisfy their cravings already exist.  

Pratt is doing what Pratt does best. He is self-deprecating while also somewhat egotistical. He has sidekicks that he both talks trash about but also clearly cares for. Keats is essentially a Diet Star-Lord, and also serves as a reminder that you can get a better version of this character elsewhere. Mackie is doing a pretty great Kevin Hart impression, and works well as a sidekick here. It is a true voice performance as well, which earns him some extra points. Millie Bobby Brown is trying hard to break out of her Stranger Things typecasting, but never can quite escape her role as Eleven. She is, however, once again playing an angst-filled teen who has trust issues with the adults around her. Everyone is against her, and she is railing against the system. The performance isn’t bad, but the character’s motivations never feel fully understood. She loves her brother, who was shown in flashbacks to be a genius – but many of the elements around her actions don’t add up.   

Harrelson, Esposito, Tucci, and Ke Huy Quan all deliver solid enough performances. They do kind of exactly what you expect these guys to do. Harrelson is the snarky elder who imparts wisdom in subtle barbs. Esposito is doing his stone-faced serious style rather than his scenery chewing, which he leaves for Tucci. Quan is playing on his nerdy typecasting as well—which is all fine, inside a mediocre script.   

Many other celebrities appear in this film, to varying degrees. Some provide the voices of robots, and others just show their faces on the TV screen of a drone. It’s clear the Russos have at least made friends with many Hollywood names, so they can get people on board for small parts.   

It’s worth mentioning that there are a few action sequences that are solid enough, and the visual effects are also better than some of the recent Marvel films. I liked the design of Herman and the robot that helps Michelle start her journey. It’s all fine…but nothing feels too impactful to make the film stand out. Ultimately, The Electric State is a little overwrought, and about thirty minutes too long. It may whet one’s appetite for a sci-fi action comedy, but it will likely only make you hunger for something better.   

The Electric State will be on Netflix on March 14.   

Rating: 2/5