When the streaming giant began making films guided by data that aimed to please a vast audience, the results were often generic, forgettable, artless affairs. But is there a happy ending?
When the annals of 2025 at the movies are written, no one will remember The Electric State. The film, a sci-fi comic-book adaptation, is set in a world in which sentient robots have lost a war with humans. Netflix blew a reported $320m on it, making it the 14th most expensive film ever made. But it tanked: though The Electric State initially claimed the No 1 spot on the streamer, viewers quickly lost interest. Today, it doesn’t even feature in the company’s top 20 most viewed films, a shocking performance for its most expensive production to date. It became just another anonymous “mockbuster”, crammed with the overfamiliar, flashy signifiers of big-screen film-making: a Spielbergian childhood quest, a Mad Max post-apocalyptic wasteland, Fallout-style retro-futuristic trimmings.
Another way of classifying The Electric State is as an example of the “algorithm movie”, the kind of generic product that clogs up streaming platforms and seems designed to appeal to the broadest audience possible. Directors Anthony and Joe Russo, whose style might be politely described as “efficient”, specialise in this digital gruel; they also made the similarly forgettable action thriller The Gray Man, starring Ryan Gosling.