Anthony's new scientific film and OEO Rousseau "Electrical Status"-ultra-blockbuster of $ 320 million used by the road to Netflix this week-there is a bow that should explain many words. Based on the illustrated retro-futuristic novel by Simon Stylenhag, the "electrical state" sets that Disneyland, when it opened in the 1950s, not only built anitronic entertainment robots, but a real, high-tech, artificial intelligent robots. Uncle Walt, it seems, was less film tycoon as it was Dr. Song of "Starwater Paths". The world soon became inhabited by servants robots, each painted with a friendly, cartoon. Robotic versions of corporate mascots were built, and cartoons were given robotic, real -world colleagues.

In the early 1990s of this universe, however, there was an uprising of robots, and the smiling corporate mascot demanded liberation. War broke out. People were able to beat the war thanks to the new invention: thousands of combat bots that can be controlled from a distance from human soldiers wearing VR helmets. After the human victory, all intelligent robots were expelled to an EDIDE prison the size of Oregon, and people lived in peace. It is now around 1995, and Wonderwall just becomes a hit.

Oh, yes, and an extra strange idea: the soldier's shots expose the brains of their users. Half of their brains devote themselves to controlling robotic bodies, while their other half is swinging in a virtual matrix -like universe, where they are permanently on vacation.

The complexity of the above setting, you may think, will leave filmmakers to discuss something that philosophically initial. The ethics of robotic labor, perhaps or the nature of the bifurated consciousness. The symbolism of people going to war with their own corporate IP certainly opens some research doors. However, Roussos does not cover his premise for any visible purpose. They seem to say nothing. The images are fatty and thematic tantalizing, but in the end the "electrical state" is intellectually dull, non-very spectacular. Nothing more.

Anthony and Oeo Rousseau, to remind readers, directed one of the most successful films of all time with "Avengers: Endgame". They also Kornusat several other films in the Marvel film Universe and exhibited talent for quarreling with more colorful characters in flawlessly constructed combat scenes, where they could actually reveal what was going on from shot to shot. They were fondublers of zooming in to the desired starved characters, giving each moment a climate spoon to the port.

Their post-MCU exit, however, included "cherry", "gray man", and now "electrical situation" "" Electric ",,,,,," electrical situation "," Electric "", "," electricity "," electrical state ". who now prove their weaknesses. Yes, they can give a few moments, but with MCU, they could be pulled out by filming an infinite series of mini-climaxes, as other directors have already set up their characters in other films. The blondes are very good with payments, but awesome by setting up. They are great for the final, but they have no new ideas on how to take us there.

As such, when they set up an alternative 90 years inhabited by ousted corporate robots and tells a story of how humanity has given its collective unconscious to a technology basil with VR accessories for sale, they do it without what to say. Indeed, now you can see, with an "electrical state", that Russe, in their hearts, corporate rental victories. It is certainly saying that the cute figures in their new film are armed, robotic corporate mascots who need a small staff of brave people to defend them from attacking the force of wicked, government military drones. In a strange way, the "electric state" is a pro-AA film in which entertainment companies need to defend themselves from the attack on government surveillance. The "electrical situation", if anything, is for the need for Netflix deregulation.

The plot of the "electrical state", above its complex setting, is refreshing simple. Milli Bobby Brown plays a teenager named Michelle whose only close relationship is with her brother Mathematics Christopher (Woody Norman). Unfortunately, her brother and family are dying in a car accident, and she is forced to live with Foster Father-dependent from the Po (Asoneyson Alexander). Michelle was disgusted by the dependence of the world by VR, and that schools were replaced by the VR classroomsImagine also used in "Ready Player One"). The robots are strictly illegal, and the soldiers walk the streets until the morning in the morning looking for fever.

Michelle was contacted by the robot of Cosmo (Alan Tudik), a cartoon character Michelle and Christopher watched. The robot informs Michelle that her brother is not dead, but has been held in a distant facility owned by the technology tycoon Etan Skate (Stanley Tucci), a stand-in-in for Steve Jobsobs, Elon Musk or any other billionaire with ghosts. Michelle and Cosmo are on the way to find her brother, accumulating a thief-with-Serb-gold named Kits (Chris Pratt), and his robot Bady Herman (Anthony Mackie's voice, shooting a movement provided by Martin Cleba) along the way. The tail is a suspicious Supra-Assassin played by Ianankarlo Esposito (more precisely his face; the audience can only see the actor from the eyebrows to the chin, through a robotic TV screen). The film follows them in search of Christopher and find out why a skate retained a prisoner.

Their trip will take them to the huge, upgraded robotous housing, where all Disney bots live, well-intentioned by Mr. Pijir (Woody Harrelson's robot) to Plantis fame. Viewers with sharp ears can recognize more voices of celebrities coming from background bots. Brian Cox plays a spoiled baseball robot, Enen Slate plays in the mail, and Hank Azaria plays a magician with Android. Coleman Domingo has Kimo as a man in a robotic suit. Hugh Kuan also plays a crazy scientist and a robotic version of himself.

The tone of the "electrical state" is surprisingly flat. Visual is certainly ultra -small, and the special effects are flawless, but it is all in the service of a flawless photographed, non -creative constructed film. No energy or verv. Chris Pratt is present to smear the generic "comic" monotonous, but none of them are actually funny or denotes no personality. Much of the dialogue feels like lines of accommodation, written to save space for really funny jokes to be inserted later. You can appreciate the modest sense of Rusos's visual - unlike Michael Bay's film, it can always be revealed where the characters are in the combat scene - but it is an ordinary complement to a qualified tool, not telling stories or creativity. When I level the same sincere criticism of the film's emotional climates, the overall weakness of the film can be felt.

"Electrical Situation" is one of the most expensive films ever madeAnd you can see every dollar on the screen. The robots feel real, and their design, taken from Stanenenhag's book, is appropriately unique. But someone wonders why so much effort came into a movie that has almost nothing in mind. It is double frustrating, since some of the imaginations are so powerful. Dystopian thriller for shedding or corporate IP? If this film was actually made in the 90's-when the times were more cynical and pop artists, more anti-corporate-could have been shaken, bitter and anti-establishment. However, Roussos are the oldest film directors who work and seem to understand what they have decided to adapt.

The "electrical state", like Mr. Peanut, is a complex machine that can imitate human emotions, but it can be more like a peanut shell in how empty it is.

/Movie rating: 6 out of 10

The "electrical situation" streamed on Netflix on March 14, 2025.