
Millie Bobby Brown
Michelle

An orphaned teen hits the road with a mysterious robot to find her long-lost brother, teaming up with a smuggler and his wisecracking sidekick.
I kept waiting for The Electric State to surprise me. Not with a plot twist—those are cheap—but with a moment where the machinery of the film, all that polished chrome and neon, suddenly felt alive. Instead, I got a road trip through a post-war America that looks like a screensaver designed by someone who’s seen Blade Runner too many times.
The robots are gorgeous, the world is vast, and the whole thing moves at a clip that suggests urgency. But urgency isn’t the same as momentum. You can race through a landscape without ever really going anywhere.
The Russos have built a career on spectacle—superheroes punching each other in increasingly expensive ways—but here, they’ve swapped capes for a retro-futuristic aesthetic that feels like a mood board come to life. The problem isn’t the look; it’s that the film never stops to ask why it looks this way. The 1990s-inspired tech, the towering machines, the crumbling infrastructure—it’s all rendered with such loving detail that you’d think the movie had something to say about it.
But it doesn’t. It’s just set dressing for a story that could’ve unfolded in any generic sci-fi universe.

Millie Bobby Brown plays Michelle, a teenager searching for her missing brother in a world where AI has either saved or doomed humanity—it’s never quite clear which. She’s accompanied by a robot named Keats (voiced by Giancarlo Esposito), who’s supposed to be her guide but mostly delivers cryptic one-liners that land with all the weight of a fortune cookie. The dynamic between them should feel like the heart of the film, but it’s hard to care when the script treats their relationship like a checklist: bonding moment, check; emotional revelation, check; witty banter, check.
The Russos have always been better at action than emotion, and here, even the quieter scenes feel like they’re rushing toward the next set piece.
"Spectacular robots and lavish visuals wrapped around a shallow, overfamiliar sci‑fi road trip."
Visual effects, production design, and the variety of robots are consistently singled out as the strongest elements, with some enjoying it as a simple, family-friendly adventure about a girl and her mechanical companions. At the same time, the story feels rushed and emotionally thin, characters never gain much depth, and the adaptation is seen as draining the source material’s haunting atmosphere and ideas in favor of formula and nostalgia.
The Russo brothers' robot road movie hit Netflix on March 14, 2025. Critics treated it like a write-off. People opened it anyway.
Universal won the package in December 2020 with Millie Bobby Brown attached and Anthony and Joe Russo directing from a Christopher Markus and Stephen McFeely script of Simon Stalenhag's 2018 illustrated novel. By June 2022 the theatrical window was gone. Netflix took the film. Chris Pratt signed on. Michelle Yeoh was in, then scheduling conflicts pulled her out. Ke Huy Quan, her Everything Everywhere All at Once co-star, replaced her. ,
,
Atlanta filming started in October 2022 under the working title Stormwind. Production paused on November 4 after a crew member died in an off-set car crash. They wrapped in early February 2023, then came back for reshoots from March 20 to April 5, 2024. Deadline later put the budget at $320 million, which would place it among the most expensive movies ever made. Alan Silvestri scored it, his third Russo job after Infinity War and Endgame. [1],
Stalenhag's novel is lonely, muted, and elliptical. Anthony Russo told a New York Comic-Con panel the story was "very opaque" and "kind of hard to understand," so they used the art as a springboard for a new plot. Joe Russo described the premise as a 1990s in which late-1950s Disney animatronics became sentient and demanded equal rights. Inverse already flagged the first stills as muddy next to the book. Fans who wanted the melancholy original heard that as a confession. ,
Chris Pratt told The Hollywood Reporter he had planned to take time off, then read the script. "It's so original, it's a huge swing," he said. "I was moved to tears reading." At the Madrid premiere Brown hoped the film would be "a wake-up call to understand our relationship with technology." Pratt, a child of the 1990s, said he was excited to load the movie with pop-culture leftovers from that decade. [5],
Rotten Tomatoes settled at 14 percent from 158 reviews. Metacritic gave it 30. The consensus said it lumbered "like a giant automaton." It still debuted at No. 1 on Netflix's English films chart with 25.2 million views in the first tracked week, then 22.5 million the next. Netflix later reported 74.2 million views and 158.2 million hours in the first half of 2025. Kids' Choice nominations for Pratt and Brown. Razzie nominations for Worst Picture, Worst Director, and Worst Screenplay. [1]
The joke writes itself. Kids' Choice nods for the stars. Razzie nods for the brothers and the MCU writers. Seventy-four million clicks on a book they admitted they did not film.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
Movies
Related titles ranked by rating and popularity.