Recently, the pictorial novels appear to face a difficult time that is properly adapted to the silver screen. Only a few months have passed since the last bad picnic, “here”, where the author Richard McGuero was re -divided into time, space and humanity as the Shams Festival. Unfortunately, this is also the case for “The Electric State” from the author of the author Simon Set Sattamhaj, who turns his prominent movie of a young woman looking for her missing brother in a technical to a strange chaos, reasonable from her glorification ideas from a handful of much better cinematic uses.
Board Joe and Anthony Rousseau, along with the book Christopher Marcus and Stephen McVelli, reduce amazingly from their source of material as it comes to building characters and building an overwhelming world. Given that the same talent had previously led to the adaptation of Marvel’s Comic-Comic-Book in Captain America and Avengers, it was not better. They offer a superficial reading of brotherhood relations, as well as the topics surrounding technological panic and corporate violation, and their added contributions lack the spark or emotional resonance.
Michel’s teenager (Millie Bobby Brown) lived an ideal life until she was stolen by a car accident from both parents and her geniuses, her younger brother, headed by Christopher (Woody Norman). Over the years after this, during a third world war launched by sensitive robots and a man -managed drone won, she became a rebellious hell that arose in a deserted house by Deadbeat Foster Dad Ted (Jason Alexander). It also flounders outside the school because it refuses to wear the head covers required to learn: The NeuroCaster. The elegant virtual reality helmet invented by the billionaire billionaire (Stanley Tucci) was first used by the army, then encouraged post -war on the civil market so that humans can rest and mechanical drones can work.
One night, Michelle is visited by a ghost of her past-a robot version of her life and her favorite cartoon cartoon, Kid Kozmo (expressed by Alan Todic), hiding in her shed (gem to the front of ET in “et outside terrorism”). This unexpected access to Michel indicates that her brother may be alive and in urgent need of rescue. To find it means traveling across the country to Seattle, through a dangerous arid land full of rogue robots, while evading Giancarlo Esposito, which was appointed by Sentre to arrest them. They also need to persuade the Carisimi smuggler (Chris Prato) and his right assistant, Hermann (Anthony Makki), to guide them through the treacherous terrain whitening on the sun to their final destination.
Although there is no reason to add it to the time of operation for two hours, filmmakers could have used their time more economically, penetrating us at work as the book does and avoids the standard forms of exhibition to create their world and deformed personality motives. Instead, they rely on an elongated and fabricated news montage, an illustrative letter from each of Dr. Am Huy Quan and the leader of the Robot Rebellion sect, Mr. Peanut (Woody Harrellson). They have reduced the dark aspects of the novel (dealing with the worst side effects of technology) in favor of the general imagination that focuses on freedom, and the preaching comment on bias and diluted conflict, between humanity and robots.
He never explained why Michel’s capital despises, leaving us to save the logical basis. Therefore, when the situation is inevitably crowned by placing it on one, the weight of this decision is the hollow-while in the book, its reasons are specific and completely lacking. Brown does what she can raise the material, but showed a wider range of her beloved convenience. Comedy falls often. Pratt, whose character plays like the cross between Han Solo and Jack Burton, talented with a moment or two, quarrels with Hermann like a married couple and cars at the Senter headquarters. Otherwise, the material makes it somewhat unnecessary for Michel’s endeavor.
At the same time, the “electrical state” suffers from the problem of the villain. Do not give the villain of Steve Jobs nor his mercenaries a lot of motor and repression. They are chasing the orders of the bark, but the “Minority Report” scheme that was built in Skate- just as they judge the world and Bradbury “Edge of Tomorow”, which is the Schenetty butcher, who do not feel weighing. And with a generosity, Tucci and Esposito cherish the moments of cheese with a decent dose of sincerity to relieve the edges.
You forget the largest supervision of movie makers to enjoy their alternative and pioneering preparation in the nineties. There are a few jokes that involve the Schlocky sensations such as the Billy The Big Mouth Bass, the Nintento Nintento controllers and Clapper, but this is related to it. The dark aesthetic production design of the cyber novel (which shows the technology company everywhere waving on the horizon on the city’s views of its claws that resemble the outstretched and open octopus associated with helmet and dried death everywhere) and embraces a brighter and friendly appearance with family with Russian cartoon effects.
However, the design of production and visual effects is the real highlight, especially the dances of the Terry Corder movement of robots, which helps to improve the collection of characters. Everything looks and feels coherent, with humans and integrated robots with environments, raising their reactions over the appearance that was sometimes washed for the stage. The effects are particularly strong in the sequence of the battle of the third climate acting.
There is no rule that the book -based films should not diverge what is on the page. “The Shining” of Stanley Kubrick and Paul Verhoeven ‘Starship Troopers “have certainly found their fans in both mediators. However, in this case, film makers relieved source materials, showing the lack of clear interest in making their creation with the same throat, disease and disease like the original product.