“The Current War” historical movie review

When the History Channel comes to cinemas. Despite what the title and tagline suggests, this movie is not electrifying and unfortunately plays off as forgettable Oscar bait. The only difference between this movie and one that you may catch on The History or Discovery Channels is the A-list cast. For students of history or those whom normally seek out and enjoy historical movies, you will most likely find this story interesting if not fascinating. Perhaps nearly as interesting as the historical background of this movie is the story of this movie’s journey from concept to screen. After the collapse of The Weinstein Company, this movie’s fate to never see the distribution was all but sealed. Enter from stage left Executive Producer Martin Scorsese to save this movie. With the backing of Scorsese, director Alfonso Gomez-Rejon recut the film to that which he originally intended before Harvey has his way with it (and others in Hollywood). While the details of the plot lack anything truly memorable, and the characters are one-dimensional, where this film shines is in the cinematography and editing. All throughout the movie, the camera becomes a character in and of itself, providing audiences with carefully crafted angles and beautiful tracking shots that attempt to draw us into the story on an intimate level with this cast of legendary inventors and businessmen. Perhaps we would be talking cast too had they been given anything to work with. Ultimately, the screenplay is to blame for this steady but low wattage story of one of the greatest chapters in US history.

Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon)– the greatest inventors of the industrial age — engage in a battle of technology and ideas that will determine whose electrical system will power the new century. Backed by J.P. Morgan, Edison dazzles the world by lighting Manhattan. But Westinghouse, aided by Nikola Tesla (Nicholas Hoult), sees fatal flaws in Edison’s direct current design. Westinghouse and Tesla bet everything on risky and dangerous alternating current. (IMDb)

Upon watching this movie, it is clear that screenwriter Michael Mitnick forgot the cardinal rule of composing a well-developed screenplay with visual dimension: dramatize don’t tell (or simply show). Everything needed for a great screenplay is here: two central characters that equally function as the character(s) of opposition, a well-defined external goal (providing the electricity for the Chicago World’s Fair), motivated by an internal need (to prove that he is the best). It’s a relatively simple plot with complex characters–well characters that should have been more complex than they were written to be. Unfortunately, the plot was made complicated by too much technical jargon and felt too “telly” because of the perpetual exposition dumps. Further evidence of the weak screenwriting is witnessed in the lack of character development. What we are left with is a simple (yet dull) plot and simple characters. This would explain why all the elements for a great historical movie are there, but it still feels kind of weird.

As fantastic as the cinematography is, it certainly needed something to work with in order to deliver the luscious imagery we get in this movie. Fortunately, the cinematographer was given gorgeous sets, outstanding costumes, and locations that function as de facto characters. Good thing too, because the cinematographer was not given a script or characters to highlight. The stylistic cinematography provided by Chung-Hoon illuminates the dark with visually stunning choices that exude a strong commitment to visual storytelling. Had Chung been given a visually-driven screenplay, then perhaps we might be talking Oscar noms next year. Performing as strongly as the cinematography is the editing. If you like the way Broadway movies are edited, then you will enjoy the editing techniques employed to cut together this story. Just as this is a movie about inventors (of either inventions or clever ways of acquiring patents), the editing feels highly inventive for this style of movie. Whereas the screenplay feels very History Channel, the editing is fresh, sharp, and never feels dull (unlike the story itself).

Personally, what I found most interesting was the Edison story. Not because he was my favorite character, quite the contrary. After all, Edison comes off as the Ray Kroc of electricity. Why I was particularly interested in his story is because I’ve had the opportunity to visit the Ford and Edison Winter Estates in Fort Myers, Florida. For example, I’ve seen that same lightbulb map at the museum as well as one of his laboratories. Having visited his winter nome (which functioned as his supplementary research lab), I could literally place myself in his world. One of the labs that used to exist on the property has since been relocated to Henry Ford’s Greenfield Village, which is home to many historical houses and buildings that have been relocated from their original standing place to the living museum. After the movie has provided me with the inside story on Edison, next time I visit his Winter Estate, I will view it with new eyes. If you have the opportunity to visit Greenfield Village or the Ford and Edison Winter Estates, I highly encourage you to take your time to walk through the history of two of the greatest minds that transitioned us into the modern era though ingenuity and determination.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Red Sparrow” film review

Intense. Riveting. Spine-tingling, A masterful spy thriller crafted in a classical fashion with sex appeal. Red Sparrow will harness your full attention from the opening. Directed by Francis Lawrence, this spy movie is the level of excitement that 2015’s Bridge of Spies wished it was. Whereas many espionage movies fail to develop a plot that keeps you guessing from beginning to end–allowing you to feel like a covert operative or detective–this film delivers a mesmerizing story filled with intriguing characters and close calls. In many ways, this film contains elements that could be likened to a Hitchcockian suspense thriller with influences from Billy Wilder and David Fincher. Jennifer Lawrence displays an uncanny performance that truly shows the versatility of the Oscar-winning actress. With tensions rising between the US and Russia in real life, this films comes at a perfect time because we may find ourselves in a cold war that’s reminiscent of the latter part of the 20th century. Not for those who are weak in the stomach, this film contains cringy visceral horror that will get under your skin. Without the need to rely on science-fiction gadgetry to carry the story, this film provides well-developed characters and an intriguing plot that’s filled with twists and turns.

Prima Bolshoi Ballet ballerina Dominika Egorova (Jennifer Lawrence) is faced with a bleak and uncertain future following a severe career-ending injury while on stage performing. Her high-ranking uncle persuades her to attend Sparrow School: an institution that trains seductive spies in order to pry information from targets by using extreme sensuality. Sparrows turn their minds and bodies into weapons for the state. Being determined to remain special, Dominika completes the sadistic training more quickly than the other students and is recruited for a covert assignment to track and report on an American CIA operative (Joel Edgerton) who Russia feels will lead them to the mole within their own ranks.

The beautiful opening of Red Sparrow is abruptly ended when Dominika suffers a horrific injury that instantly ends her ballet career. This acutely intense moment will cut you directly to the bone–you will undoubtedly wince or cringe, feel the break in your own legs. This is but a taste of what is to come throughout the movie. In an exquisite fashion, the gorgeous dance at the opening is juxtaposed against the alleged drug deal gone bad. Paralleling one another, the event that unfolds concurrently enable the plot to get a quickly paced fantastic start out the gate. Unfortunately, this excellent start does lead into a slower paced latter half of Act I. However, there is important background information that is revealed during Act I that foreshadows and sets up the remainder of the turning points in the plot. You will also notice the use of the color red in many places during the movie. Analyzing the shades of, and placement of the crimson hue has the potential to generate conversations between cinephiles.

The color red is not the only symbol in the movie that can be analyzed; there is a theme of your body belonging to the state. Essentially, this can be read as a commentary on celebrity. As a prima ballerina, Dominika’s body was weaponized for the stage and figuratively belonged to the Bolshoi and by extension to the public. Much in the same way her Sparrow weaponized body literally belongs to The State. It’s her body, but the Bolshoi and The State determine her career. But she is determined to not allow herself to become a commodity that can be abandoned, traded, or punished. This can be said about conventional celebrities and the public. In a manner of speaking, the public decides whether or not you are worth seeing on screen and how you should behave. Back during the days of the Studio System, this was a big problem because the Studio controlled your image, who you dated, slept with, when/if you had kids, your marriage, and more. There was mass exploitation in that system, and one of the reasons why it was ended. The empowering message of rebelling against The State, who is determined to own you and your body, can be witnessed through the covert actions of Dominika.

In the grand Hitchcockian fashion, there is a lot of suspense that increases tension but does not always provide a release. Though Hitch would have handled the level and pacing of the suspense more perfectly, you can read his famous bomb theory in Red Sparrow. Hitchcock knew how to take a two-dimensional situation and find a third-dimensional approach to impress the audiences and hold firm their attention. And to the film’s credit, there are a few times that the level of suspense coupled with the symphonic score channels Hitch. Unlike many spy movies that rely too heavily on a love story, the film brilliantly leaves you wondering whether or not Lawrence and Edgerton are in love or rather it is a facade employed in order to extract vital information for their respective allegiances. The level of romance and eroticism is just enough to add the sex-appeal to the relationship without the movie becoming about the romance between two individuals who serve two opposing countries.

Not for the faint of heart, there are some incredibly intense moments in the film that might make you queasy in the stomach. But the movie chooses to place more emphasis on the action, plot, and characters more so than that which threatens your eye. It’s certainly a new breed of spy movie, but it’s one that is incredibly interesting and will hold your attention for the more than 2hr runtime.