The Electric State is rated PG-13 by the Motion Picture Rating (MPA) for sci-fi violence/action, language and some thematic material.
Violence & Intense Scenes: Yes, the action includes fighting between humans and robots with the use of guns and explosions, car chases and jumps.
There is a lot of fighting in this science fiction war film, especially with military units battling giant robots in the last half of the movie.
There are also some moments when robots are depicted as being damaged or destroyed aggressively, which can potentially cause distress to children.
Incidentally, there’s a car accident as a back story which although not shown in the film in graphic detail, adds to the movies appeal due to the emotional impact.
The Exclusion Zone includes broken and derelict robots some of which are scary or creep.
It contains elements such as generalized damage, falling structures, and endangered individuals.
Language: There is some mild to moderate language; there is the use of words such as damn and hell.
Certain characters are prone to using very harsh dialogue, or sarcasm, in situations that put them on edge.
While driving the car, some people scream and shout to each other and to the car its self so there are a couple of instances of name-calling and insulting the human characters and the robot characters.
Sexual Content & Nudity: No explicit nudity or sexually related scenes are depicted, but some sexual connotations are portrayed.
Michelle’s uncle is depicted as watching virtual reality material some of which is suggestive, Vegas showgirls for instance. However, nothing explicit is shown.
Some flirtatious or suggestive dialogue between supporting characters.
Substance Use: There are a few instances of alcohol use and alcohol is depicted when characters appear at a bar.
There is no direct drug use but ‘narrowcasters’ are devices similar to VR helmets that people use to remove themselves from reality can be regarded as an allusion to drugs.
The Electric State Movie Review:
Ever wondered what it would be like to live in a world where robots are your coworkers, your friends, and maybe even your family? The Electric State dives into that idea, but instead of feeling like a thrilling adventure, it ends up feeling like a chaotic mess that tries too hard to be everything at once. Based on Simon Stålenhag’s stunning graphic novel, the movie has a lot of potential, but it gets lost in its own ambition, leaving you with more questions than answers.
The story kicks off in 1990, “Before the War,” in a world where sentient robots have become the backbone of society. They work in factories, deliver packages, and even entertain kids with shows like Kid Cosmo, a Saturday morning cartoon that’s a hit with Michelle’s younger brother, Christopher (Woody Norman). Christopher is a child genius, already on the fast track to college, but his world starts to unravel when Kid Cosmo gets canceled. It’s not just a show ending—it’s a sign of growing tension between humans and robots, who are beginning to demand rights and refuse to follow orders. When President Clinton (yes, that Clinton) issues a mandate for robots to return to work, things escalate quickly, leading to an all-out war between humans and machines.
Cut to 1994, “After the War,” and the world is a very different place. Michelle (Millie Bobby Brown) is now an orphan, her parents and brother presumed dead after a tragic car accident. She’s stuck living with her uncle Ted (Jason Alexander), a slobbish, neurocaster-obsessed man who spends his days watching Vegas showgirls in virtual reality while his robot double argues with Michelle. Neurocasters, by the way, are VR helmets invented by tech mogul Ethan Skate (Stanley Tucci) that let people live double lives—relaxing in virtual worlds while their robot avatars handle the dystopian mess of the real world. It’s a cool concept, but the movie doesn’t do much with it beyond using it as a backdrop for Michelle’s loneliness and frustration.
READ MORE: The Studio Parents Guide
Everything changes when a robot version of Kid Cosmo—a round, yellow, lollipop-headed bot with a toothy grin—shows up in Michelle’s room. Voiced by Alan Tudyk, the bot is quirky and endearing, but it also carries a shocking revelation: this robot is Christopher’s mechanical twin, which means the real Christopher might still be alive. Michelle, desperate for hope, teams up with the bot (who she nicknames Cosmo) and sets off on a cross-country journey to find her brother. Along the way, they meet Keats (Chris Pratt), a smuggler with a wisecracking robot sidekick named Herman (Anthony Mackie), and together they dodge the Robot Deactivation Task Force, led by the intimidating Colonel Bradbury (Giancarlo Esposito).
The road trip takes them to the Exclusion Zone, a desert wasteland where decommissioned robots and prewar artifacts are stored. It’s here that the movie starts to feel overcrowded. They meet Dr. Amherst (Ke Huy Quan), a surgeon with a mysterious past, and a hidden community of robots who are trying to rebuild their lives. This group includes folksy Mr. Peanut (Woody Harrelson), a baseball-shooting bot named Popfly (Brian Cox), and Penny Pal (Jenny Slate), a perky postal service robot. Each character feels like they’re there to add quirkiness or comic relief, but instead of making the story richer, they just make it feel cluttered.
The movie’s biggest problem is that it tries to do too much. It wants to be a heartfelt story about family, a commentary on technology and humanity, and a big-budget action spectacle—all at once. The final act is a Marvel-sized showdown at Ethan Skate’s headquarters, complete with explosions, giant robots, and a last-minute emotional twist that’s supposed to make you cry. But by this point, it’s hard to care. The characters are underdeveloped, the plot is overstuffed, and the emotional beats feel forced. Even Alan Silvestri’s sweeping score can’t save the day.
Visually, the movie is impressive. The robots are creatively designed, and the motion-capture work brings them to life in a way that’s both charming and eerie. But the film’s reliance on spectacle over substance makes it feel hollow. There’s a giant robot carrying a VW bus, a robot uprising set to Ride of the Valkyries, and even a scene where Herman transforms into a mechanical matryoshka doll—cool moments, sure, but they don’t add much to the story.
The movie’s message—about stepping back from technology to reconnect with humanity—isn’t exactly groundbreaking. In fact, it feels a little ironic coming from Netflix, a platform that thrives on keeping us glued to our screens. But even if the message isn’t new, it could have been impactful if the characters and story had been given more depth. Instead, The Electric State feels like a missed opportunity, a film that’s so busy trying to be everything that it ends up being nothing.
So, who is this movie for? If you’re a fan of sci-fi adventures with lots of action and eye-catching visuals, you might enjoy parts of it. But if you’re looking for a movie with heart, humor, or a fresh take on the genre, this one might leave you feeling more disconnected than the robots it’s trying to humanize. Overall, it’s a 5/10—worth a watch if you’re curious, but don’t expect it to blow your mind.
Directors: Anthony Russo, and Joe Russo
Writers: Christopher Markus, Stephen McFeely, and Simon Stålenhag
Starring: Chris Pratt, Millie Bobby Brown, and Woody Harrelson
Release date: March 14, 2025 (United States)