The work of Joe Russo and Anthony Russo has almost only been carried out in superlatives since their brilliant (first) “Avengers” double. With “Avengers: Endgame” you have ensured the most successful and currently the second most successful film ever. Her Amazon mammoth project “Citadel” is considered one of the most expensive series and her $ 200 million “The Gray Man” has led the list of the most expensive films in Netflix history-until now!
Because now the director brothers, who are supposed to get the leaning MCU back on track with “Avengers Doomsday”, have already done it again-and promptly put themselves in the shadow again: You first for a cinema evaluation, but now directly at Netflix, sci-fi blockbuster “The Electric State“Should have devoured $ 320 million in a whopping (and therefore not that much less than the“ end game ”in question)! Of course, such a stately budget guarantees not a good film. And that becomes even clearer in the “The Electric State”, at least in terms of effects about any doubt, even more clearly than three years ago in the medium -sized “The Gray Man”.
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In an alternative world, Walt Disney (!!!) created robots have once developed into indispensable everyday assistants that take on a wide variety of unpleasant tasks. But at some point, the constantly continuously optimized machines don't want to put up with it. In the 1990s there was therefore a robot uprising, which people can finally smash with the help of advanced drones.
The remaining bots are blocked in the so -called exclusion zone. This is exactly where the young Michelle (Millie Bobby Brown) also sets off when she learns that her little brother Chris (Woody Norman), who had been deadly, should be there. But on your own, the trip to the strictly sealed area would be a suicide command. So against the will she teams up with the windy smuggler Keats (Chris Pratt) …
A post -apocalypse for the whole family
“The Electric State” is based on the illustrated novel by the Swedish artist Simon Stålenhag, which also delivered the loose template for the Amazon sci-fi series “Tales From The Loop”. With dark-morbid and absolutely breathtaking pictures, Stålenhag designs a dreary post-apocalypse in his book, the deep melancholy of which protrudes far beyond the side of the side. However, the Russos go a little different in their adaptation: Although they keep some cornerstones from Stålenhag's world, their version of the story, despite the end-time setting, is more of a lively family adventure.
After all, it is a declared concern for Russos to bring their message closer to a younger audience to deal with technology. The problem with this: You really don't have anything new about the topic. The platform that was still hastily clapped in the end that the real world is actually completely fragrant far and virtual reality games, after the two-hour celebration of modern CGI cinema, looks more like an obligatory compulsory exercise than an organically grown appeal.
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Nevertheless, the modal focus against the background of this intention is legitimate, especially since Joe and Anthony Russo created a spectacular post-apocalyptic playground from the 320 million budget. Its introduction is somewhat awkward given the many exposure chunks, which are mostly conveyed via television contributions, but once the world is established, it is also filled with a lot of life. This is primarily thanks to the creatively designed and great animated robots. This is particularly strong when Michelle and Keats come across the small robo civilization that the machines have built up in the exclusion zone and where there is something to discover every corner.
If all sorts of disused hairdressing, household and advertising robots are presented to us in terms of meaning or a little later in the adjacent wasteland with threatening zombie robots, “The Electric State” bubbles in front of original and crazy ideas. Unfortunately, the like cannot be said for the action, which despite the embedding of the unusual scenario follows very leaked story paths and still tries to sell the always predictable twists as twists.
This certain “Avengers” chemistry is missing
All of this leads to a showdown, in which it crashes properly, but its effect almost fizzles out. On the one hand, this is due to the fact that the Russos, apart from the flawless effects and the skillfully taught size of their set, cannot set staged accents that remain in the memory for longer. The same can also be said of the figures, which are consequently only to a limited extent. Chris Pratt once more varies a variant of his popular Star Lord persona, this time only with poor 90s wig. “Stranger Things” star Millie Bobby Brown, on the other hand, still works as an emotional anchor, especially thanks to her credible representation of the intimate sibling relationship.
However, real buddy chemistry between the two may not arise-even though Joe and Anthony Russo's regular authors Christopher Markus and Stephen McFeely have masterfully understood the “Avengers” films at the gigantic ensembles, from the sometimes so different characters and to form both stirring individual moments as well as to form strong group dynamics. It works better with their respective robo side kicks. Especially the originally brewed in the original from the new Captain America Anthony Mackie and who is in different size designs is a real highlight with its cheeky, but always heart-dried species. Stanley Tucci (“Die Tribute von Panem”), as a villain, remains completely pale somewhere between Elon Musk and Steve Jobs.
Conclusion: Fantastic animations and a lively robo world in “The Electric State” unfortunately cannot hide the uninspired story and the arms of the arms. Especially in view of the record budget, there should have been more in it.