Netflix's dramatic sci-fi venture, The Electric State, directed by the Russo Brothers, has ignited intense scrutiny following its ambitious $320 million budget. Following its release on March 14, 2025, the film quickly surged to the number one slot on Netflix's charts, but not without inciting scathing reviews.
The film, which stars Millie Bobby Brown as the protagonist Michelle and Chris Pratt as her companion Keats, is set against the backdrop of 1990s America, post-war between humans and sentient robots. Critics have dubbed it various unsavory terms; Vulture's Bilge Ebiri referred to it as “a $320 million piece of junk” and “actively annoying.”
This adaptation of Simon Stålenhag’s graphic novel strays far from its source material—“a hyper-processed industrial product packed with sugar and sodium,” according to The New York Times. Even among those who appreciated aspects like the visual effects and production design, there remains consensus: the positives are overshadowed by significant flaws.
Further criticisms have poured in. The Hollywood Reporter described it as “slick but dismally soulless.” And with Rotten Tomatoes giving The Electric State a meager 15% score, it suggests widespread disapproval among critics who feel the high budget did not equate to quality filmmaking.
“They created this really impressive, visually spectacular world and then just told quite a generic seen-it-all-before story inside it,” said Ian Sandwell of Digital Spy, who awarded the film just two out of five stars. Yet, his insights reflect broader concerns about how audience expectations are changing, particularly within the streaming arena.
Interestingly, the discourse surrounding the film often hinges on the larger questions of value—value for audiences, value for filmmakers, and the sheer financial extravagance on display. Various critics pointed out parallels to the diminishing returns seen with high-budget movies as audiences increasingly opt for smaller, indie films—echoing sentiments voiced by fellow directors like Cord Jefferson during his Oscar speech.
“Instead of making one $200 million movie, try making twenty $10 million movies or fifty $4 million movies,” Jefferson said, highlighting the industry's risk-averse tendencies. These thoughts resonate even more starkly when reflected on The Electric State’s final output.
The film's story involves Michelle's quest to find her brother, Christopher, who is believed to be trapped within the mind of a sentient robot after their parents die. Critically, the film fails to explore the emotional depths of sibling relationships, leaving many viewers perplexed at how two directors with familial ties could deliver such tepid dynamics.
The film’s tonal missteps were also noted critically, with characters throwing out pop culture references like readings from the West Coast Avengers comic, hopefully enticing through humor but leading only to eye rolls. Praising it as merely “breezily watchable,” Empire highlights the stark dichotomy between artistic ambition and commercial pressures. Meanwhile, many critics feel it is far removed from the storytelling richness present in Stålenhag's original work.
“The Russos try hard to blend humor, science-fiction, and action, but they only manage to flatten the stakes,” remarked Johnny Oleksinski from The New York Post. This critique emphasizes the disconnect between expected charm and the film's actual execution.
Composer Alan Silvestri faced scrutiny for relying on his previous scores, giving fans the impression of musical recycling rather than innovation. The sweeping landscapes and chaotic robot battles were compared unfavorably to earlier, more engaging cinematic experiences.
Despite the overwhelmingly negative press, Netflix's model appears to insulate it from immediate financial repercussions. Determined audiences can revisit The Electric State for its star power and CGI robots, regardless of reviews. A trend is beginning to emerge where viewers are drawn to these productions for escape rather than cinematic excellence, validating the company's strategy.
Gav Squires noted, “when Netflix puts out films costing $30 million, I’m not too fussed about it. But when they spend $320 million on something like this, it feels like really bad value.” Critics and audiences alike appear caught between the spectacle of modern visual culture and the demand for substantial storytelling.
The narrative criticism extends beyond simple cinematic enjoyment; it poses questions on the validity of large-scale projects—does spending so immensely serve as proper investment when the product fails to resonate deeply with its audience?
One critic poignantly stated, “This is one of those movies where it seems okay if you like this sort of thing for a little, but after it crosses the 90-minute mark, it becomes irretrievably too much.” The overwhelming consensus seems to echo this struggle: between spectacle and substance, the bridge remains unbuilt.
While streaming numbers may initially seem promising for The Electric State, the film faces possible long-term scrutiny not only from critics but by viewers who engage with its narrative. The question remains—will the sizeable investment yield dividends, or is this another case of over-hyped entertainment failing to innovate?
With such high expectations from both the public and critics, and the pressures of significant financial backings, the Russo Brothers must navigate the balance of artistry and commercial success carefully. Whether The Electric State becomes iconic for its failure or its potential remains to be seen, but for now, audiences can expect much more than what has been delivered under this grand title.