The Electric State – Film Review

You would think that after helming the once-in-a-lifetime cinematic event Avengers: Endgame, directors Anthony and Joe Russo would cement themselves as two of the best filmmakers in the industry but that couldn’t be further from the truth. Their efforts since that film have ranged from mediocre to just downright bad, and their latest film The Electric State, might be the worst one they’ve ever worked on.

Loosely adapted from Simon Stålenhag’s evocative 2018 illustrated sci-fi adventure novel, the film follows Michelle (Millie Bobby Brown), a determined orphan who embarks on a road trip with a sentient robot to reunite with her long-lost brother. Along the way, she crosses paths with a smuggler, Keats (Chris Pratt), and his wisecracking sidekick (Ke Huy Quan), unraveling secrets about a dystopian world teetering on the edge of collapse.

Despite its promising premise and striking visual design, The Electric State stumbles in nearly every other department. Laden with an inconsistent tone, underdeveloped characters, and a muddled script, the film struggles to justify its two-hour-plus runtime. While some moments shine—mainly thanks to the stellar voice work of Ke Huy Quan and an intriguing aesthetic—the film ultimately crumbles under its own ambitions, resulting in a disappointing, lifeless spectacle.

The film introduces audiences to Michelle, a strong-willed teenager navigating a post-apocalyptic America riddled with abandoned technology, decaying cities, and rogue automatons. Her only companion is a hulking, outdated robot named P.C., a machine with an unexpectedly warm personality. The duo’s journey is propelled by Michelle’s search for her missing brother, Christopher (Woody Norman), but their path is fraught with danger as they are pursued by shadowy forces led by Ethan Skate (Stanley Tucci).

Conceptually, The Electric State is rich with potential. Stålenhag’s original artwork depicted a melancholic, retro-futuristic world where remnants of a lost civilization loomed large over personal stories of loss and survival. However, the film adaptation strips away much of that emotional depth in favor of a formulaic road trip narrative.

The screenplay by Christopher Markus and Stephen McFeely—who previously penned Avengers: Infinity War and Endgame—attempts to infuse the story with a blend of action, humor, and heartfelt drama. Yet, unlike their past successes, The Electric State never finds the right balance. The humor often feels forced, the action sequences lack tension, and the emotional beats ring hollow.

Millie Bobby Brown, best known for Stranger Things, shoulders much of the film’s emotional weight, but she is hamstrung by a script that fails to give Michelle the complexity she deserves. Brown does her best with the material, offering moments of genuine vulnerability and resilience, but Michelle never develops beyond a generic “tough yet wounded” protagonist.

Chris Pratt’s performance as Keats is one of the film’s most frustrating elements. While he has proven his comedic and action chops in films like Guardians of the Galaxy and Jurassic World, his portrayal here feels oddly detached. Keats is meant to be a roguish, morally ambiguous smuggler, yet Pratt plays him with an uncharacteristic lack of energy, making it difficult to invest in his character’s arc. Also, what’s up with that absolutely atrocious wig he’s wearing here? This film cost a whopping $320 million to make and that’s the best they could do with his wig? Seriously?

Ke Huy Quan, fresh off his Oscar-winning turn in Everything Everywhere All at Once, voices P.C., Michelle’s robotic companion. His voice work is charming and heartfelt, providing much-needed warmth in a film sorely lacking in emotional connection. However, P.C. often feels like an afterthought rather than a fully realized character.

Stanley Tucci, playing the film’s primary antagonist, delivers a predictably strong performance, but Ethan Skate is little more than a generic villain with vague motivations. Woody Harrelson, Anthony Mackie, and Giancarlo Esposito appear in minor roles, yet none are given enough screen time to leave a lasting impact. Their presence feels more like stunt casting than meaningful additions to the story.

When it comes to the film’s aesthetic, there’s plenty to enjoy. The film’s production design and CGI work do justice to Stålenhag’s original artwork, creating a hauntingly beautiful world filled with decaying machines, sprawling landscapes, and remnants of a lost technological era. Cinematographer Stephen F. Windon captures sweeping, desolate vistas making for a visually compelling experience.

However, the world-building, while stunning to look at, feels superficial. Unlike films such as Children of Men or The Road, which immerse audiences in fully realized dystopian societies, The Electric State never explores its setting beyond surface-level aesthetics. The film frequently hints at deeper themes—government control, technological overreach, human resilience—but never commits to developing them meaningfully.

One of the biggest problems with The Electric State is its inconsistent tone. At times, the film presents itself as a heartfelt coming-of-age story, only to abruptly shift into an action-heavy chase film with cartoonish villains. The humor, particularly from Chris Pratt and Ke Huy Quan’s wisecracking sidekick, often undercuts serious moments, making it difficult to take the story’s emotional beats seriously.

The pacing also suffers. The first act sets up an intriguing mystery but quickly loses momentum. The middle section of the film meanders, relying on repetitive action sequences and forced comedic exchanges that add little to the plot. By the time the third act arrives, the stakes feel diluted, leading to an underwhelming climax that resolves in the most predictable way possible.

Alan Silvestri‘s musical score, while serviceable, lacks memorability. Given the film’s nostalgic, retro-futuristic aesthetic, a more distinctive synth-driven score could have enhanced the atmosphere. Instead, the soundtrack blends into the background, failing to elevate key moments.

The action sequences, though well-staged, feel generic and uninspired. Compared to the visceral intensity of the Mad Max films or the kinetic creativity of Edge of Tomorrow, The Electric State plays it safe. The fight choreography is standard, and the set pieces lack the inventive flair needed to make them stand out in an oversaturated sci-fi market.

The Electric State had all the ingredients for a compelling, visually breathtaking sci-fi adventure: an acclaimed directing duo, a talented cast, and a rich source material filled with potential. Unfortunately, the final product is a frustratingly lifeless film that fails to live up to its premise. While the visuals impress and Ke Huy Quan provides some much-needed heart, the film is ultimately weighed down by a weak script, underdeveloped characters, inconsistent tone, and a lack of emotional depth.

For all its high-concept spectacle, The Electric State lacks the soul needed to make it a memorable sci-fi epic. Fans of the original novel may be particularly disappointed, as the film strips away much of the melancholic beauty that made Stålenhag’s work so compelling.