Anthony and Joe Russo’s new film “The Electric State” will arrive on Netflix on March 14, 2025 (you can watch the trailer here), and it comes with a lot of baggage. Adapted from a picture novel by Swedish artist Simon Stålenhag, “The Electric State” takes place in an alternate dystopian version of 1990s American where corporate mascots wander the landscape as intelligent robots. There was a recently-failed robot uprising, and now all the robotic mascots (like Mr. Peanut, for example) now wander a wasted, walled-off landscape, exiled from humanity. Millie Bobbie Brown plays Michelle, a young woman who has to venture into the robot wasteland in search of her long-lost brother.
The Russo brothers are perhaps best known for the work within the Marvel Cinematic Universe, as they oversaw the blockbusters “Captain America: The Winter Soldier,” “Captain America: Civil War,” “Avengers: Infinity War,” and “Avengers: Endgame,” one of the most successful films of all time. “The Electric State” is the third film directed by the Russos since “Endgame,” and all three have been massively expensive and/or critically panned. Their 2021 crime epic “Cherry” only cost $40 million to make, but only earned a 37% approval rating from the critics on Rotten Tomatoes. Their dull-ass 2022 spy film “The Gray Man” earned a little more respect with a 45% approval rating, but infamously cost Netflix about $200 million to make.
“The Electric State,” meanwhile, is their most expensive film to date, and one of their worst-rated. As of this writing, the film has a 19% approval rating on Rotten Tomatoes, and, according to some reports from last year (including one on the website Puck), it cost $320 million to make. To put those numbers in perspective, the Russos’ crass 2006 comedy “You, Me and Dupree” has a 20% approval rating, and “Captain America: Civil War” only cost $250 million.
This is their lowest-rated film to date. It’s also Netflix’s most expensive.
The Russos haven’t had a hit outside of the MCU
The reviews have not been kind. Tori Brazier, writing for Metro, was baffled by the film’s soulless nostalgia bait, wondering if there are any disaffected Millennials who might connect with the film’s half-hearted corporate cynicism. In her Variety review, Courtney Howard called the Russos’ film “a whimsical, sanitized mess of mimeographed ideas from a handful of far better cinematic inspirations,” saying that the comedy falls flat, and that the exposition is plodding. David Erlhich, writing for IndieWire, gave the film a D-, calling the film “relentlessly stale.” The Russos can’t seem to find their footing as filmmakers, having proven now to have been more comfortable playing with characters set up by other filmmakers. They are great at closing out stories, but terrible about setting them up. In this regard, they are the anti-J.J. Abrams.
Netflix is no stranger to overspending, and many of their high-profile releases have had blockbuster budgets, even without a nationwide theatrical release. They gave $159 million to Martin Scorsese for his brilliant “The Irishman,” while their dull, generic caper film “Red Notice” reportedly cost between $150 and 200 million. Michael Bay’s actioner “6 Underground” also cost $150 million, and forgettable films like “Triple Frontier” and “Outlaw King” were both north of $115 million.
One can only theorize, but it seems that Netflix overspends on its movies merely to increase their own stock value. It looks good on a shareholder’s investment sheet if a $320 million film starring multiple notable stars is available on the service, and the company’s value goes up. It hardly matters if audiences see it or if new subscribers sign up because “The Electric State” was now available.
Time will tell if audiences flock to “The Electric State,” or if its critical appraisal improves, but as it stands, we’re looking at a poorly reviewed, way-way-too expensive potential dud.
