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Tuesday, October 22, 2019
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??? Release 2019-10-02, Stars Will Smith, Mary Elizabeth Winstead, Clive Owen, Benedict Wong, Linda Emond, Theodora Miranne, Justin James Boykin, Alexandra Szucs, Douglas Hodge, Tim Connolly, Genre Action, Thriller, Company Skydance Media, Synopsis Henry Brogen, an aging assassin tries to get out of the business but finds himself in the ultimate battle: fighting his own clone who is 25 years younger than him and at the peak of his abilities.
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} A century ago, man was just getting started with movies - heck, we even had sound and colour to explore. ‘Gemini Man’ deserves to be acknowledged for its purposeful step towards discovering what potentially lies out there for the future of movies and the capacity of the technology. Sure, the film finished and Michael and I both agreed the plot was safe and it really does stick to the “boy runs, meets girl and keeps running“ framework - but if you want to see it for more than that, at least respect it’s go-getter exploration of a new digital world.
- Lily Meek

Read Lily's full article...
https://www.maketheswitch.com.au/article/review-gemini-man-ang-lee-vs-ang-lee-has-technology-gone-too-far
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Usually, I leave the technical aspects to the end of my reviews since story, characters, and the critical element of each genre (action in action flicks, comedy in comedies, and so on) are way more important. However, having in mind the whole marketing campaign surrounding Gemini Man's "groundbreaking innovations", I'll address them now. Even after sleeping on it, my experience in high frame rate still feels very … weird. In case you need some explaining, HFR adds a lot more detail to the image since it captures more frames per second hence making the image smoother, which can be extremely distracting. I always disable motion smoothing on my TV since I hate that feeling of knowing that "something's not right".

It doesn't have to do with speed, which is something people are going to wrongly state regarding this film. The action isn't faster, don't make the mistake of saying this. Since there's 2.5x more detail (24 FPS is the standard frame rate), movements become easier to follow, so there's the illusion of watching something faster than normal. Truth is, it just FEELS like it. When characters are just talking, and there's no action involved, it works because it simply looks better. However, the action sequences are very hit-and-miss. Some pieces look absolutely amazing, but it's clear this technology needs a few more years of experience to reach its full potential.

Scenes featuring car/motorbike chases, running, or shootings are stunningly filmed, but any hand-to-hand combat is frustratingly off-putting. Additionally, Ang Lee applies an excessive use of CGI to a lot of these moments, which makes some fights look incredibly absurd. HFR is not the only technical attribute people are going to discuss. That young version of Will Smith … Honestly, it doesn't really work for me. People who complained about The Lion King (2019) not being able to show animals emoting will surely hate this attempt of replicating a young Will Smith (if they don't, then Joker was right, society is indeed extremely hypocritical).

It's just like the action sequences with HFR: hit-and-miss. There are some genuinely mind-blowing scenes with medium shots of young Will Smith, and he looks 99.9% real. In these specific shots, it's impossible to tell the difference between the clone and a real version. However, it still fails to deliver this realism throughout the entire runtime. First of all, young Henry barely shows any emotions (except a brilliant crying moment), which is obviously meant to facilitate the VFX team's work. But even with his face completely still and empty of emotions, the eyes just look too doll-like. The eyebrows move strangely, and the forehead seems odd.

In the end, it all comes down to forgetting that it's a digital character and that almost never happens. I always felt like I was watching a blend of CGI, motion-capture, and whatever other technology they used to try to pull this off. In a few years from now, if Gemini Man gets a remake or some other movie tries to do something similar, I bet it will look near-perfect. Right now, it's more of a disturbance than an achievement. Put this together with the already not-that-good HFR, and we get a visually striking yet distracting film.

And if you thought the story would save it… It's pretty bad. Generic, predictable, and filled with almost offensive exposition. I would have to go through my reviews, but this is definitely one of the most exposition-heavy screenplays of the year. I lost count of the number of times a character starts ranting with the purpose of explaining something evident to another character. The worst thing a screenplay can do is treat the audience like they are 5-year-old children. The whole plot revolves around people asking someone else what happened, what's happening, and what's next. We already know from the trailer Will Smith is being hunted by a young version of himself, a clone.

Try to imagine how many ways you can tell someone there's an individual exactly like that person. Now, just lazily insert all of those sentences on a character's script and make it say them in a single scene. I'm sorry, but it's laughably bad. There are no surprises! It ends abruptly, utterly disregarding the only interesting plot point (still very predictable), by not developing it any further than one sequence. If it wasn't for the truly fantastic cast (Will Smith is always impeccable, Mary Elizabeth Winstead and Benedict Wong deliver great performances), Gemini Man would easily be one of the absolute worst movies of the year. Shoutout to Lorne Balfe's score, which is by far the technical aspect worthy of only compliments.

All in all, Ang Lee's attempt to deliver a groundbreaking film doesn't quite hit the mark. Honestly, it's still far from it. The 60 FPS HFR and the young version of Will Smith are occasionally jaw-dropping, but both technical aspects need years of improvement to be able to work seamlessly. As of now, these only serve as a frustrating distraction. However, the biggest problem with Gemini Man is its exposition-heavy screenplay, which besides treating the audience like dumb people, doesn't carry any sort of surprise or novelty. As generic and predictable as it could be. The unbelievably talented cast, a spectacular score from Lorne Balfe, and a few notable action sequences save this technological hit-and-miss from missing its target entirely.

Rating: C-

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Gemini Man (2019) Review :::


Gemini Man 2019 IMDb ~ Directed by Ang Lee With Mary Elizabeth Winstead Will Smith Clive Owen Douglas Hodge An overthehill hitman faces off against a younger clone of himself

Gemini Man film Wikipedia ~ Gemini Man is a 2019 American action thriller film directed by Ang Lee and written by David Benioff Billy Ray and Darren Lemke Starring Will Smith Mary Elizabeth Winstead Clive Owen and Benedict Wong the film follows a hitman who is targeted by a younger clone of himself while on the run from the government

Gemini Man 2019 Rotten Tomatoes ~ Gemini Man is an innovative actionthriller starring Will Smith as Henry Brogan an elite assassin who is suddenly targeted and pursued by a mysterious young operative that seemingly can predict

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Gemini Man Wikipedia ~ Gemini Man is an American actionadventure drama series that aired on NBC in 1976 The third television series based on the H G Wells science fiction novel The Invisible Man Gemini Man was created to replace the previous seasons The Invisible Man utilizing simpler and less expensive special effects

Gemini Man ~ A Gemini man is a child and a grownup all in one person He is rational charismatic and usually wins hearts with his childish charm Changeable and witty he is someone you don’t want to see when he settles down and gains weight



Monday, October 21, 2019
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??? Release 2019-09-26, Stars Justin Fletcher, John Sparkes, Kate Harbour, Andy Nyman, Joe Sugg, Genre Comedy, Animation, Family, Company StudioCanal, Aardman Animations, Synopsis The follow-up to the hugely-successful and Oscar-nominated 2015 film.
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A Shaun the Sheep Movie Farmageddon 2019 IMDb ~ Directed by Will Becher Richard Phelan With Justin Fletcher Joe Sugg John Sparkes Kate Harbour When an alien with amazing powers crashlands near Mossy Bottom Farm Shaun the Sheep goes on a mission to shepherd the intergalactic visitor home before a sinister organization can capture her

A Shaun the Sheep Movie Farmageddon Wikipedia ~ A Shaun the Sheep Movie Farmageddon also known as Farmageddon A Shaun the Sheep Movie or Shaun the Sheep Movie 2 is an upcoming 2019 British Stopmotion animated science fiction comedy film produced by Aardman Animations Directed by Will Becher and Richard Phelan in their directorial debuts

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A Shaun the Sheep Movie Farmageddon Shaun the Sheep ~ A Shaun the Sheep Movie Farmageddon also known as Shaun the Sheep Movie 2 is an upcoming 2019 film directed by Will Becher and Richard Phelan and produced by Paul Kewley Shaun and the Flock must face their new enemy Aliens that try to take over the farm

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The Rhythm Section 2020 IMDb ~ Directed by Reed Morano With Blake Lively Jude Law Sterling K Brown Max Casella A woman seeks revenge against those who orchestrated a plane crash that killed her family

The Rhythm Section Wikipedia ~ The Rhythm Section is an upcoming BritishAmerican action thriller film directed by Reed Morano and written by Mark Burnell and based on his novel of the same name The film stars Blake Lively Jude Law and Sterling K Brown It is scheduled to be released in the United States on January 31

The Rhythm Section 2020 Rotten Tomatoes ~ Blake Lively stars as Stephanie Patrick an ordinary woman on a path of selfdestruction after her family is tragically killed in a plane crash When Stephanie discovers that the crash was not an

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The Rhythm Section Official Trailer 2020 Paramount Pictures ~ Think of your heart as the drums your breathing as the bass Watch the official trailer for The Rhythm Section from director Reed Morano Starring Blake Lively Jude Law and Sterling K Brown

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??? Release 2019-12-18, Stars Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Ian McDiarmid, Billy Dee Williams, Joonas Suotamo, Mark Hamill, Carrie Fisher, Domhnall Gleeson, Genre Action, Adventure, Science Fiction, Company Lucasfilm, Bad Robot, Walt Disney Pictures, Synopsis The next installment in the franchise and the conclusion of the “Star Wars“ sequel trilogy as well as the “Skywalker Saga.“
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Star Wars The Rise of Skywalker Wikipedia ~ Star Wars The Rise of Skywalker also known as Star Wars Episode IX – The Rise of Skywalker is an upcoming American epic spaceopera film produced cowritten and directed by J J will be the third installment of the Star Wars sequel trilogy—following The Force Awakens 2015 and The Last Jedi 2017—and the final episode of the ninepart Skywalker saga

Star Wars The Rise of Skywalker 2019 IMDb ~ Directed by Abrams With Billie Lourd Daisy Ridley Adam Driver Mark Hamill The surviving Resistance faces the First Order once more in the final chapter of the Skywalker saga

Star Wars The Rise of Skywalker ~ This week on The Star Wars Show we check out some of the Star Wars exclusives and events coming to San Diego ComicCon including how attendees will get a first look at the brand new Sith trooper from Star Wars The Rise of Skywalker

Star Wars The Rise of Skywalker Disney Wiki FANDOM ~ Source Star Wars The Rise of Skywalker also known as Star Wars Episode IX The Rise of Skywalker is the ninth and final upcoming episode of Star Wars as well as the final installment of the Star Wars Sequel Trilogy It will be the twelfth theatrically released film in the Star Wars franchise and was directed by Abrams and produced by Kathleen Kennedy

Star Wars The Rise of Skywalker News ~ Exclusive Star Wars The Rise of Skywalker products and a special exhibit celebrating stormtrooper design are coming to San Diego this month BY Team The Rise of Skywalker JULY 10 2019 Vanity Fair Reveals Exclusive Look at Star Wars The Rise of Skywalker

STAR WARS THE RISE OF SKYWALKER SPOILERS ~ The Star Wars The Rise of Skywalker teaser trailer not only featured the remains of the Death Star but also the iconic laugh of Emperor Palpatine The villain was seemingly killed by Darth Vader in Return of the Jedi but now a new rumour from Making Star Wars reveals that Matt Smith will be playing a reincarnated version of the character

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Friday, October 18, 2019
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Thursday, October 17, 2019
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??? Release 2019-07-26, Stars Benedict Cumberbatch, Michael Shannon, Nicholas Hoult, Katherine Waterston, Tom Holland, Matthew Macfadyen, Tuppence Middleton, Stanley Townsend, Damien Molony, Conor MacNeill, Genre Drama, History, Company Bazelevs Production, Film Rites, Fourth Floor Productions, The Weinstein Company, Synopsis Electricity titans Thomas Edison and George Westinghouse compete to create a sustainable system and market it to the American people.
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>_The electric-lighting company with which I am connected purchased some time ago the patents for a complete alternating system, and my protest against this action can be found upon its minute-book. Up to the present time I have succeeded in inducing them not to offer this system to the public, nor will they ever do so with my consent. My personal desire would be to prohibit entirely the use of alternating currents. They are as unnecessary as they are dangerous._

- Thomas Edison; "The Dangers of Electrical Lighting"; _North American Review_, 149:396 (November, 1889)

>_Any plan of distribution involving the meshing of the mains underneath the streets, with all house wires connected directly thereto, is regarded by the majority of competent electrical engineers as in many respects radically defective; so defective, in fact, that, unless the use of alternating currents can be prohibited, it seems destined to be wholly supplanted by the more scientific and in all respects (so far as concerns the users or occupants of buildings) far safer inductive system. Apparently sensible of this, Mr. Edison does not hesitate to say: "My personal desire would be to prohibit entirely the use of alternating currents."_

- George Westinghouse; "A Reply to Mr. Edison"; _North American Review_, 149:397 (December, 1889)

>_If Edison had a needle to find in a haystack, he would proceed at once with the diligence of the bee to examine straw after straw until he found the object of his search. I was a sorry witness of such doings, knowing that a little theory and calculation would have saved him ninety per cent of his labour._

- Nikola Tesla; _The New York Times_ (October 19, 1931)

Filmed between December 2016 and March 2017, when _The Current War_ debuted in a near-completed form at TIFF in September 2017, it was considered a major contender for the 2018 Academy Awards. Scheduled for a prime awards-season release on December 22 (shortly thereafter changed to November 24), and with a number of heavyweight producers (Timur Bekmambetov, Basil Iwanyk, Harvey Weinstein) and executive producers (Martin Scorsese, Bob Weinstein, Steven Zaillian), the film was to be distributed by The Weinstein Company, with Harvey in particular known for his ruthlessly efficient Oscar campaigns. He was overseeing the assemblage of the final cut in October when he was accused of sexual assault and rape by numerous women, and when he abandoned the project, the November release was shelved. Little more was heard of the film until October 2018, when Lantern Entertainment (which had acquired The Weinstein Company's assets) and 13 Films brokered a deal to co-distribute the film internationally in July 2019. Then, in April of this year, 101 Studios announced they would handle a limited release in North America in October, whilst director Alfonso Gomez-Rejon (_Me and Earl and the Dying Girl_) revealed he had re-edited the film, adding five additional scenes but trimming the overall run time by 10 minutes.

So is it worth the wait? Well, it's competently acted, reasonably entertaining, and moderately informative, but...it definitely won't be involved in the 2020 Oscars. It's certainly not as bad as a lot of critics (most of them reviewing the TIFF cut) have made out, but there's no denying that Gomez-Rejon over-directs the whole thing. If you listen to Paul Haggis's commentary track on _Crash_ (2004), he tells a story about a scene which was filmed to begin with an elaborate camera move via a crane transitioning into a dolly shot. In the final film, however, all of that is gone, and Haggis explains that he realised during the edit that the camera moves were unjustified, doing little but drawing attention to themselves. A _lot_ of _The Current War_'s aesthetic draws attention to itself, primarily because Gomez-Rejon's elaborate direction is so out of sync with Michael Mitnick's by-the-numbers script – like a screenplay intended for Michael Bay ended up being directed by Michael Mann. Although make no mistake, Gomez-Rejon is no Mann.

Telling the story of the "war of the currents", the film opens in New Jersey in 1880 as the pioneer of the long-lasting electric light bulb, Thomas Edison (Benedict Cumberbatch proving once and for all that he can't do an American accent), stages a typically grandiose demonstration of the power of large-scale low-voltage direct current (DC). When Edison next illuminates five square blocks of Manhattan, George Westinghouse (an uncharacteristically non-psychotic Michael Shannon), best known as the inventor of the railway air brake, begins to consider that the way of the future is not in gas, as he previously believed, but in electricity. However, he sees flaws in DC, and so favours high-voltage alternating current (AC), using transformers to step down the voltage. Edison's is the safer of the two systems, but so too is it more expensive, with a limited range compared to AC. To highlight this very point, Westinghouse illuminates Great Barrington, Massachusetts from over a mile away. He invites Edison to discuss a partnership, but Edison, who believes Westinghouse has stolen his ideas, snubs him, and the rest of the film takes place over the next 13 years as the two men come into direct conflict with one another in the "race to light America". As Edison begins to lose ground to Westinghouse, he takes the decision to grossly overstate the danger of AC, whilst also surreptitiously attempting to convince the city of New York to use AC in its proposed first "electric chair" execution, thus tainting Westinghouse's brand. The rivalry culminates in 1893 as each attempt to secure the contract for the World's Columbian Exposition (aka the Chicago World's Fair). Along the way we meet such people as Serbian-American inventor Nikola Tesla (an underused Nicholas Hoult); Edison's loyal to a fault assistant Samuel Insull (Tom Holland); Westinghouse's chief electrical engineer Franklin Pope (Stanley Townsend); Edison's wife Mary (Tuppence Middleton); Westinghouse's wife Marguerite (Katherine Waterston); Edison's main financial backer J.P Morgan (Matthew Macfadyen); and the first man to be executed via electrocution, William Kemmler (Conor MacNeill).

Originally conceived as a stage musical by Mitnick, thematically, a great deal of _The Current War_'s concerns remain unstated; yes, it's obviously about the war of the currents, but there's more to it than that. Edison and Westinghouse are presented as opposite examples of the nature of success in an American free-market prospering during a period of immense technological innovation. Whilst Edison is driven by legacy and fame, Westinghouse simply wishes to improve people's lives and is unconcerned with celebrity. Important here is Tesla, who is essentially a foil for the two leads, as the film details his inability to remain under Edison's employment, stating his desire to "detach power from profit", a concept utterly alien to Edison, for whom power _is_ profit.

Edison is depicted as aware of and addicted to his celebrity, a visionary enamoured of his own genius, convinced that he and he alone has the mental capacity to achieve success. He's also portrayed as a poor husband and father, and a lousy boss, who demands that his employees' dedication match his own. On the other hand, the more stable, less flamboyant Westinghouse is devoted to his wife, values his collaborators, has no interest in fame, and doesn't even see Edison as competition, believing that they should be working together. Indeed, the film goes so far as to suggest that Edison knew Westinghouse's system was the superior of the two but stubbornly refused to yield, ultimately employing baseless fear as a weapon.

The most immediately notable aspect of _The Current War_, however, is its aesthetic, specifically Gomez-Rejon's direction and the photography by Chung Chung-hoon (_Oldeuboi_; _Ahgassi_; _It: Chapter One_). Watching the film, I was reminded somewhat of Adrian Martin's 1992 article, "_Mise-en-scène_ is dead, or the expressive, the excessive, the technical and the stylish", in which he divides _mise-en-scène_ into three broad categories: classical ("_in which there is a definite stylistic restraint at work_"), expressive ("_general strategies of colour coding, camera viewpoint, sound design and so on enhance or reinforce the general "feel" or meaning of the subject matter_"), and mannerist ("_performs out of its own trajectories, no longer working unobtrusively at the behest of the fiction_"). Whilst I would posit that _The Current War_ lands somewhere between the expressive and mannerist styles, it definitely lies closer to the "all style, no substance" paradigm of mannerist _mise-en-scène_, rather than the synergy between form and content found in the work of most expressive filmmakers (one of Martin's examples of which is the aforementioned Michael Mann).

Some of Gomez-Rejon's aesthetic choices are definitely justified, arising directly from the content and serving a clear thematic purpose, but a lot of the aesthetic design is in service of nothing but itself. An early example of a justified decision is when the camera pans up from Edison's New Jersey demonstration and quickly travels to Westinghouse's Pittsburgh home in what is made to appear a single shot (the unconvincing CGI is beside the point). The effect is to connect the two men, not just in terms of geography, but, more importantly, ideology. Another shot in this scene, shooting directly down on Edison's elaborate circular light demonstration, also works well, serving to instantly show us his ambition and theatricality, plus the effectiveness of the demonstration itself. Once we reach Pittsburgh, a lengthy single-take shot introduces us to Westinghouse as he weaves his way through a throng of guests at a ball, with virtually everyone trying to catch his attention. This immediately establishes him as a man of influence and considerable reach, but one who abhors the spotlight. In a later scene, Gomez-Rejon shoots Edison and his family in a train carriage, but using a very wide fisheye lens. With Edison on one seat and his wife and two children facing him, the wide lens distorts the space between them unnaturally, mirroring the important theme of Edison neglecting and moving away from his family in pursuit of his goals.

On the other hand, some of the choices are extremely hard to rationalise. That this should be important is attested by Thomas Elsaesser and Warren Buckland in their 2002 book, _Studying Contemporary American Film: A Guide to Movie Analysis_. During their analysis of Martin's tryptic division, they say of the mannerist style, "_style is autonomous, for it is not linked to function, but draws attention to itself. In other words, style is not motivated or justified by the subject matter, but is its own justification_". This is an apt a description of large portions of _The Current War_ as you're going to find. For example, there are more Dutch angles than I've seen in a film since Oliver Stone's _Natural Born Killers_ (1994), but unlike Stone's usage, when and how Gomez-Rejon deploys them is more often than not arbitrary. He also uses split-screen on occasion, and at one point, he even splits the screen into three. Again though, the reason why he employs such a technique is unclear (compare it with something like Darren Aronofsky's _Requiem for a Dream_ (2000), where every use of split-screen is wholly justified by the narrative). This ripped me out of the film, as I constantly found myself asking, "_I wonder why he did that_", rather than paying attention to the content. Ironically enough, whilst the idea was obviously to cover up for the script's inadequacies via aggressive aesthetic energy, the fact that so few of Gomez-Rejon's techniques are justified actually draws our attention to that script, as no amount of directorial gymnastics can cover the structural and pacing problems.

The handling of the characters is also problematic. Cumberbatch, for example, plays Edison as virtually identical to his portrait of Alan Turing in Morten Tyldum's _The Imitation Game_ (2014); a brilliant, driven, uncompromising innovator who's as difficult to relate to in terms of humanity as he is easy to admire for mental acumen. Elsewhere, the film has a habit of downplaying the supporting characters. For example, neither Mary Edison nor Marguerite Westinghouse are developed beyond "supportive wife", whilst Insull gets just one decent scene, which comes so late as to be fairly meaningless. The worst example of this is, however, is the depiction of Tesla, who is very much an afterthought, so under-developed that one wonders if it would have been better to leave him out altogether. This tendency is also found in a postscript which credits Edison, and Edison alone, with the development of the Kinetoscope (one of the first motion picture cameras), without so much as a mention of Louis Le Prince or William Kennedy Dickson.

Nevertheless, as serious as these problems are, I rather enjoyed _The Current War_. Granted, that may be because I've always been drawn more to expressive _mise-en-scène_, preferring _auteur_s who aren't afraid to employ an aesthetic signature, as opposed to those who are happy to disappear behind the work, _á la_ someone like Steven Spielberg, Ridley Scott, or Ron Howard. It was never going to be the kind of Oscar contender that was obviously intended, but the behind-the-scenes turmoil and the critical mauling are not necessarily indicative of an inherently bad film. Sure, the script is very weak in places, and Gomez-Rejon employs every camera trick known to man, more often than not without knowing why. But for all that, it kept me interested, and although I'd never argue it's an especially well-realised historical drama, I did, for the most part, enjoy it.

Here you are find to Stream The Current War best HD movie online. Or you want Watch The Current War (2019) : movie WEB-DL free. Electricity titans Thomas Edison and George Westinghouse compete to create a sustainable system and market it to the American people.. Watch best The Current War HD movie online, Quality The Current War Movie HD, The Current War movie DVDSCR free, download The Current War movie DVDRip, watch The Current War movie BluRay, The Current War movie tv format, download The Current War movie 4kUHD, movie The Current War WEB-DL free, best movie The Current War HDTV to watch, download movie The Current War HDTVRip, streaming The Current War movie fullHD, download The Current War WEBRip movie, download The Current War BluRay movie, watch The Current War 1080 movie, HDTS movie The Current War free, download The Current War movie DVD, Streaming The Current War movie WEB-DL, Download The Current War BRRIP movie, download The Current War mp4 movie.


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The Current War Wikipedia ~ The Current War is a 2017 American historical drama film that depicts the war of the currents between Thomas Edison and George d by Alfonso GomezRejon and written by Michael Mitnick the film stars Benedict Cumberbatch as Edison and Michael Shannon as Westinghouse alongside Nicholas Hoult Tom Holland Katherine Waterston Tuppence Middleton and Matthew Macfadyen

The Current War 2017 IMDb ~ Directed by Alfonso GomezRejon With Tom Holland Tuppence Middleton Benedict Cumberbatch Matthew Macfadyen The dramatic story of the cutthroat race between electricity titans Thomas Edison and George Westinghouse to determine whose electrical system would power the modern world

The Current War 2019 Rotten Tomatoes ~ Three brilliant visionaries set off in a charged battle for the future in The Current War the epic story of the cutthroat competition that literally lit up the modern world Benedict Cumberbatch

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