‘The Electric State’ Review: The Russo Brothers Turn Postapocalyptic Picture Book Into a Bland Millie Bobby Brown Vehicle

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Recently, it appears that translating graphic novels into movies is proving challenging and often results in misinterpretation. For instance, the recent film “Here,” an attempt to adapt Richard McGuire’s introspective work on time, space, and humanity, was criticized for turning a profound reflection into a cheesy spectacle. Similarly, the movie adaptation of Simon Stålenhag’s “The Electric State” seems to have failed in its portrayal of the author-artist’s gripping, bleak thriller about a young woman searching for her missing brother in a techno-dystopia, transforming it into a lighthearted, overly sanitized version that appears to borrow heavily from other, more successful cinematic sources.

The Russo Brothers, in collaboration with writers Christopher Markus and Stephen McFeely, seem to underestimate the blueprint provided by their source material when it comes to character development and creating an immersive world. Given their past successful adaptations of Marvel’s comic-book properties in films like Captain America and Avengers, it’s surprising that this particular material didn’t suit them better. They present shallow portrayals of sibling relationships, as well as themes related to tech fear and corporate misconduct, and their additional ideas seem devoid of depth or emotional impact.

16-year-old Michelle, portrayed by Millie Bobby Brown, once enjoyed a peaceful existence until a tragic car crash took away both her loving parents and her gifted younger brother Christopher (Woody Norman). In the years that followed, during a global conflict between sentient robots and human-operated drones, which eventually ended in humanity’s favor, she was raised in a dilapidated house by her unreliable foster father Ted (Jason Alexander). Struggling in school due to her refusal to comply with the mandatory headgear for education – the Neurocaster – Michelle has become a defiant troublemaker. The Neurocaster, an advanced virtual reality device created by billionaire tech innovator Ethan Skate (Stanley Tucci), was initially designed for military use and later marketed to civilians to allow humans to rest while their mechanical drones perform tasks.

One evening, Michelle encounters an unexpected visitor: a life-sized robot replica of Kid Cosmo, their favorite cartoon character and a character voiced by Alan Tudyk, hidden in her shed, reminiscent of E.T.’s introduction in “E.T. the Extra-Terrestrial.” This surprise visit suggests that Michelle’s sibling might still be alive and in grave danger, necessitating a cross-country journey to Seattle. The journey involves traversing a perilous wasteland teeming with rogue robots, all while avoiding Colonel Bradbury (Giancarlo Esposito), who has been hired by Sentre to capture them. To successfully navigate this sun-scorched, treacherous landscape and reach their destination, Michelle must enlist the help of charismatic smuggler Keats (Chris Pratt) and his trusty assistant bot Herman (Anthony Mackie).

It would have been more effective for the filmmakers to make their movie more concise by immediately immersing viewers in the action, as the book does, rather than using lengthy news broadcasts and excessive exposition to establish their world and character motivations that often seemed unclear. Instead of this approach, they opted for extended expository speeches from Dr. Amherst (Ke Huy Quan) and Mr. Peanut (Woody Harrelson). The film’s darker themes concerning technology’s negative consequences were overshadowed by a generic focus on freedom, heavy-handed commentary on discrimination, and a repetitive conflict between humans and robots that lacked depth.

The reason for Michelle’s disdain towards Neurocasters remains unclear throughout the story, leaving us guessing her motivations. Consequently, when she eventually puts one on, it feels underdeveloped and lacks emotional impact – contrastingly, in the book, her reasons behind this action are deeply moving and tragic. While Brown tries to enhance the material, her performance is more compelling in her lively Enola Holmes series. The humor in this film often misses its mark. Pratt’s character seems like a blend of Han Solo and Jack Burton, yet he only shines in brief moments, such as his banter with Herman, resembling a married couple, or chucking cars at Sentre headquarters. For the most part, however, the story makes his presence unnecessary for Michelle’s journey.

In contrast, the antagonists in “The Electric State” lack depth and impact. Neither Evil Steve Jobs nor his henchman are portrayed with much complexity or intimidation. They pursue and bark orders, but their grand plan to control the world, reminiscent of a “Minority Report” scenario, and the nickname The Butcher of Schenectady, inspired by Bradbury’s “Edge of Tomorrow”, seem insubstantial. Fortunately, Tucci and Esposito manage to inject some authentic emotion into their less credible scenes, softening their impact slightly.

The primary mistake in the filmmakers’ approach lies in failing to infuse a sense of playfulness into their unique, nostalgic ’90s backdrop. Although there are a couple of humorous references to kitschy artifacts such as Billy the Big Mouth Bass, vintage Nintendo consoles, and The Clapper, this is hardly exploited fully. Instead of retaining the grim, cyber-punk atmosphere from the novel, with its constant tech corporation looming ominously over cityscapes, resembling octopus tentacles, and the cityscape filled with helmet-linked, desiccated corpses, the production team opts for a lighter, more family-friendly style, complete with cartoonish robots and polished corporate offices.

Speaking of it, the art direction and special effects stand out significantly, particularly Terry Notary’s movement choreography for the robots, which makes the characters appear more human-like. Everything looks and feels harmonious, with humans and robots seamlessly blending into their surroundings, making their interactions feel more genuine, even compared to scenes shot on a volume stage. The effects are particularly impressive during the intense battle sequence in the final act.

It’s not compulsory for movie adaptations of books to stick strictly to the written content. Films like “The Shining” by Stanley Kubrick and “Starship Troopers” by Paul Verhoeven deviated from their source material, yet they still resonated with audiences in both formats. In this particular instance, the filmmakers appear to have weakened the essence of the original work, demonstrating a seeming disregard for crafting a chilling, intense, and fulfilling experience similar to the one offered by the source material.

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2025-03-07 18:55