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I was having lunch with a friend who was a well-known writer and performer who would soon leave New York to create a provocative, genre-bending cable show. During that meal, he graciously gave me a compliment, saying, "One thing I like about your reviews is that you seem never to go into a picture with a preconceived notion of what it will be like, or how good or bad it will be." You always look at things with an open mind." I relate this anecdote not to impress you with my cool and accomplished friends, but to explain why I’m going a little soft on “The Electric State,” the new movie directed by Joe and Anthony Russo currently being lambasted by other film critics across the nation, and soon, perhaps, the world.
It is not difficult to criticize the film. Adapted from the illustrated novel of the same name by Simon Stålenhag (sometimes called a graphic novel, but its actual form is of discrete paragraphs with large scale illustrations on each page or so, whereas a proper graphic novel will have dialogue balloons and such), it’s often simultaneously self-satisfied and cloying. Even the more clever parts, like the alternate 1990s history that sets up the movie's story, which includes a war with robots, have a bitter taste because of this. Which is: robots are now super outlawed, which poses a problem for Millie Bobby Brown’s Michelle, who discovers that the consciousness of her long-lost and much-beloved brother Chris is residing in a clunky bot patterned after a once-popular cartoon character named Cosmo. A series of clues tells Michelle that what she needs is in a remote and, of course, forbidden spot called “The Exclusion Zone.” Escaping her abusive dad (played by Jason Alexander, reverting to a type he portrayed in, um. ("A Pretty Woman?") she sets out with Cosmo and soon enlists a scavenger outlaw played by Chris Pratt to be her reluctant docent, who is like a lot of the rest of the world and is addicted to a virtual-reality headset that makes its users fall into a state of catatonia like in "Infinite Jest." Ethan Skate, played by Stanley Tucci, is the piece's villain. He is a wicked tech mogul (are there any other types these days?). who owns all the towers that run the headsets. In addition, you won't be able to BELIEVE what's driving those headsets or Skate's private army of legal robots (called drones) controlled by humans. You won't believe it, and I mean that literally because the arguments presented here are completely implausible. Just go with it! You have no choice with the Russo’s near-oppressive storytelling style.
So what’s good, as Lou Reed once asked in Wim Wenders’ “Faraway So Close!” a less than wholly artistically successful film that is preferable to this one by a factor of…a large factor, let’s say. As Michelle, Brown possesses a great deal of charisma and integrity. (Pratt’s performance, on the other hand, could just as well have been cobbled together from “Guardians of the Galaxy” outtakes; honestly, I’m not entirely sure it wasn’t.) You might have fun recognizing the all-star voices of the robots, including Woody Harrelson, Jenny Slate, Anthony Mackie, and Brian Cox. Ultimately, this is one of those movies where it seems okay if you like this sort of thing for a while, but after it crosses the 90-minute mark, it seems irretrievably a little much even if you like this sort of thing.