Knockin’ me out with those American lights: AC/DC conflict energizes, despite few flaws
I don’t blame you if you’re confused by the phrase “Director’s Cut” above. A director’s cut of a film usually implies that an earlier, theatrically released version preceded it. But, in the case of The Current War, no, you didn’t miss a first release of this picture. It was, however, shown at the 2017 Toronto Film Festival, and picked up for distribution by Harvey Weinstein’s infamous Weinstein Company. When the company folded because of Weinstein’s sexual harassment allegations, many projects were tabled and sold off. When 101 Studios eventually took hold of this title, director Alfonso Gomez-Rejon was granted permission by Martin Scorsese, the film’s executive producer, to make some changes before the film’s theatrical release. So what is opening today is a revised version of what Toronto fans saw two years ago. This version is, thankfully, shorter than the Fest original (why are films this season so long!?), and contains some reshoots. With such a complicated history behind the picture’s theatrical release, the question of course becomes: after all that, is the film worth seeing? My answer is: well, sure, although a few minor flaws keep that “sure” from being a resounding, exclamatory “Yes!!”
Continue reading “Film Review: The Current War: Director’s Cut“
