In the landscape of today's cinema, few films have stirred as much debate as Netflix's latest blockbuster, The Electric State, which premiered on March 18, 2025. Directed by the collaborating duo of Anthony and Joe Russo, renowned for their hits in the Marvel Cinematic Universe, this adaptation of Simon Stålenhag's graphic novel has received a tumultuous welcome from audiences and critics alike.
Set in an alternative 1990s, the film's story unfolds in a post-apocalyptic world where a war has extinguished the line between man and machine. As the narrative follows teenager Michelle, played by Millie Bobby Brown, on her quest to find her brother amidst a myriad of mechanical adversaries, viewers have been quick to note the heavy reliance on familiar tropes. Chris Pratt’s character Keats, a smuggler, stands as a reflection of the archetypal ‘scoundrel’ first made famous by characters like Han Solo. Critics argue this example typifies a greater issue—the tendency of contemporary films to echo past characters without infusing them with genuine originality.
The film attracted particular ire due to its reported budget exceeding $320 million, establishing it as Netflix's most expensive original film to date. Such extravagant spending raises eyebrows, especially when many voice their disappointment with the result. One review bluntly stated, "The Electric State is not good. There is no other way to put it." This sentiment echoes among critics who find the film to be not only reminiscent of past hits but also lacking in depth, leading many to feel their money was not well spent.
Despite its gripes, some reviews cautiously hedge their critiques, stating, "It's perfectly fine as an adventure, capably made, and decently acted." While acknowledging the film’s technical prowess and visual aesthetic, they still point out that it fails to transcend a casual viewing experience. The conflict present within the film, which features robots rebelling against their human creators after experiencing betrayal, hints at deeper societal reflections. Yet, for many viewers, these themes seem diluted and overshadowed by tired clichés and predictable plot arcs.
The filmmakers behind The Electric State have aimed for a nuanced take on humanity's relationship with technology. Stanley Tucci’s character, Ethan Skate, is portrayed as a tech genius who manipulates the digital realm to forge a new breed of robots. Meanwhile, Giancarlo Esposito embodies the merciless Colonel Bradbury, a bounty hunter tasked with keeping the remnants of this mechanized society in line. Yet, as audiences lean into the story, one cannot shake off the feeling that this could just be another confusing thread among the tightly woven tapestry of blockbuster cinema.
This blend of reminiscent nostalgia and alarming predictability leads many to question the current state of mainstream films: Are audiences partially to blame for enabling these repetitive narratives? The industry relies on viewer choice; thus, the big question arises: What do we tune into? What will we show up for? As filmgoers flock to franchises that promise an exhilarating escape over contemplative storytelling, the filmmakers' hands appear to be tied.
One critic remarked, "We are not powerless to get better movies than The Electric State," emphasizing the audience's pivotal role in shaping cinematic production. If moviegoers begin to favor films that push boundaries and evoke genuine emotion rather than rely on flashy visuals and star power, it would drive a much-needed evolution in the industry.
It’s easy to dismiss when a film flops creatively, especially given the allure of big blockbuster budgets and familiar faces. However, as the regenerative cycle of Hollywood continues, one can only hope that future films may lure viewers back with more stimulating narratives. As it stands, The Electric State encapsulates a broader dilemma; a symptom of an industry too reliant on past successes without daring to pave new paths. As audiences keep streaming, the question remains—will we hold ourselves accountable for the future of cinema?
