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Thomas Edison (Benedict Cumberbatch) is on the verge of lighting up the city of Manhattan with his direct current (DC) technology, when George Westinghouse (Michael Shannon) introduces another option to the scientific community. His business partner Nikola Tesla (Nicholas Hoult) – a revolutionary genius – offers a more viable solution instead. Although Edison’s system is arguably safer, it is far more expensive than alternating current (AC), with a comparatively limited range. This friction leads to one of the first corporate feuds in American history in one of the biggest scientific controversies of its time. Outside of a history class, it's hard to comprehend the challenges faced by pioneering inventors. ‘The Current War’ places us smack in the middle of the electricity conflict between Edison and Westinghouse, with the maverick creator Tesla on the sidelines. There's a fourth personality in Tom Holland's Samuel Insull as Edison’s assistant, but although Holland commits to the performance as much as Nicholas Hoult's demure version of Tesla, the focus stays firmly on Cumberbatch and Shannon. Cumberbatch struggles with the American accent, but there’s also a sense of unplanned detachment in his performance. On the other hand, Michael Shannon delivers a far more impressive depiction as the calm and collected Westinghouse. Still, Tesla’s characterisation in this iteration leaves much to be desired. A lot of attention is drawn to the choice of shots, with unintentionally disorienting camera angles, thanks to director Alfonso Gomez-Rejon’s extravagant aesthetic. The CGI is seamless in its recreation of the period, as is the costume design. The film’s latter half raises the stakes for the two lead characters, and subsequently, the pacing also picks up with its narrative. Despite that, it’s often hard to find an emotional connection to either of these personalities. Perhaps it’s because we know the eventual outcome – the world today is a better, and brighter place thanks to their scientific contributions. Still, the film often feels like it chooses to omit critical details in this biopic for dramatic purposes. Historical inaccuracies notwithstanding, ‘The Current War’ is sufficiently engaging and shines bright enough, powered by its competent cast. The Final Verdict: Sufficiently engaging.

Sarah Connor (Linda Hamilton) is back to battle a deadly new Terminator from the future. Two decades have passed since the events of ‘Judgement Day’. Dani Ramos (Natalia Reyes) works in an auto factory, but her simple life is disrupted when a new generation Terminator, Rev-9 (Gabriel Luna), is sent back in time to kill her. Just like before, he’s not alone; an enhanced human soldier Grace (Mackenzie Davis), is also sent to protect Dani. Of course, they find this advanced Terminator too much to handle. Enter Sarah Connor (Linda Hamilton), who knows a thing or two about these killing machines. As the three women fight for survival, Sarah needs to face her demons, mainly in the form of one particular Terminator (Arnold Schwarzenegger). The biggest challenge this film faces is the need to justify why it exists beyond an undeniable sense of nostalgia. This entry ignores the three films in the Terminator franchise since ‘Judgement Day’, and the screenwriters draw on elements which worked in the first two while taking a different approach from the sequels. There are a few similarities in the storytelling department, but just enough to distinguish it. One key aspect is putting the three women front and centre. Linda Hamilton is her meanest best as a war-weary veteran Sarah Connor, giving old and new audiences a familiar character to root for. The film’s most intriguing scenes involve her with newcomers Mackenzie Davis and Natalia Reyes, both of whom stand their ground as Grace and Dani respectively. It’s telling that Arnold Schwarzenegger’s iconic character often takes a backseat to the trio, and the film is better off for it. Sadly, ‘Dark Fate’ struggles to create another memorable foe. Despite Gabriel Luna’s best efforts to infuse some personality into the formidable Rev-9, it doesn’t translate well. The first two films were also memorable for their action set pieces, but all the latest visual effects in this entry don’t add many thrills, even with director Tim Miller throwing all the blockbuster staples at the screen. This proves that no amount of CGI can recreate the cinema magic of seeing Linda Hamilton and Arnold Schwarzenegger together onscreen again. Is ‘Dark Fate’ the best Terminator film since ‘Judgement Day’? Absolutely. But that was a low bar to beat. If nothing else, ‘Dark Fate’ is a satisfying addition to James Cameron’s Terminator films that does just enough to bring the franchise back from the dead. The Final Verdict: Finally, a worthy sequel.

Chaman Kohli, a 30-year-old college lecturer is plagued by problems arising from his receding hairline, as he often finds himself as the butt of insensitive jokes. His family wants to hook him up with an eligible girl, but he's always rejected owing to his looks. So, will he able to find love finally? For Chaman Kohli (Sunny Singh), a Hindi lecturer in Delhi, life pans out as a series of ridicule. From his students in college, to his friends and even his parents, they all make fun of his bald patch. Moreover, his parents are in a rush to get him married before he turns 31, since an astrologer predicts that if he isn't hitched before that, he will be doomed to a life of celibacy. As much as he hates the idea, he still concedes to parental pressure, only to be rejected each time. Even his own attempts at finding someone almost always fails. Finally, when someone falls in love with him, she is not the 'type' he wants to be with. 'Ujda Chaman' is the official remake of the 2017 Kannada film, 'Ondu Motteya Kathe'. While the first half of the film tries to be quirky and comic, the 'very loud Delhi family' humour and the even louder background score are a sore point. In fact, the background score ensures that there is no scope for subtlety or gentle humour. And the first part hammers the ridicule of a bald person scene after scene to the point of exhaustion. In the second half, the film mostly plays out as a drama and perhaps, redeems itself to a certain extent here by bringing in the message of accepting people for who they are. And looking beyond their outward appearances. But overall, it is the weak writing that doesn't explore beyond the germ of the idea that makes the story flip. Sunny Singh tries his best to fit into the role of an underdog and turns on an innocent charm. But for most part, his expression remains the same throughout the film (glazed eyes and sullen face). After a point it stops making any impact. Maanvi Gagroo has a pleasant screen presence and pulls in a heartfelt performance. Sharib Hashmi with a bit of role makes an impact. Karishma Sharma and Aishwarya Sakhuja are effective in their small parts. Overall, 'Ujda Chaman' carries a relevant message, but the ride to finally get to it is a wobbly one. The Final Verdict: Not a 'Hair' raising comedy.

In 1419, the love stories of three couples are left unfinished owing to a conspiracy. In 2019, reincarnated, they meet again and the romances are rekindled. But this time pairings are mixed up. Can what was done in 1419 be undone in 2019? In its fourth edition the Housefull franchise ensures that it takes its brand of over the top and mindless humour forward. Actually, it's more like the reverse, since it rewinds back six hundred years to the 15th century. But first, it's London of 2019, where Harry (Akshay Kumar) is a hairdresser who alternately has bouts of memory loss and flashes from his past life. Max (Bobby Deol) and Roy (Riteish Deshmukh) are his brothers. Together they hatch a plan to marry Kriti, Neha and Pooja (Kriti Sanon, Kriti Kharbanda and Pooja Hegde respectively), the three daughters of a billionaire, Thakral (Ranjeet), to be able to pay off the loot money of a mafia don Michael that they have misplaced. When the marriage destination is inadvertently fixed as Sitamgarh in India, the couples head there and Harry meets his past life friend Aakhri Pasta (Chunky Pandey) and recalls everything from that time. The three pairs of lovers - Rajkumar Bala Dev Singh (Akshay Kumar) and Princess Madhu (Kriti Sanon), Bangdu Maharaj (Riteish Deshmukh) and Princess Mala (Pooja Hegde), Angrakshak Dharamputra (Bobby Deol, yes the pun is not lost here) and Princess Meena (Kriti Kharbanda) are killed, leaving their love stories unfinished when they get caught up in an evil design to eliminate them. Although, Bala himself is 'shaitaan ka sala' and has laid a trap to marry Mala, so that he can become the king of Sitamgarh. The main hitch now is that, in 2019 the couples are mixed up, and Bala (Akshay Kumar) decides that the pairings must be set right so none of them end up with their sister or brother-in-law from their past life. So with this central plot point in hand, Housefull4 takes off. Of course, this mission to set things 'right' leads to confusions galore and a deluge of characters, who spring in and out of the narrative and from their last life to present life. There is a sprinkling of mindless comic moments owing to the general silliness all around. And a dollop of low- brow, crass humor. A special low point is when Princess Meena pretends to be molested to convince Dharamputra to marry her. Add to that, there are portions that drag and jokes that feel dated. The film's increasingly loud background score (especially in the second half) and the CGI in the period setting leave a lot to be desired. And a running joke on three pigeons named Neil, Nitin and Mukesh that doesn't actually fly. Of the actresses, it is Kriti Sanon who has the most lengthy role and she pulls it off well. Kriti Kharbanda and Pooja Hegde are reduced to being props, owing to their limited screen time. Interestingly, all three are uniformly dressed in the same colors, as if it were a deliberate attempt to not be able to tell them apart. Riteish Deshmukh gets the quirks of his characters well and does manage to pull in some laughs. Manoj Pahwa, Nawazuddin Siddiqui, Rana Daggubatti and Johnny Lever have their oddball parts to play in the film - though some seem just pointless. And yes, Archana Puran Singh pops up often in a photo. But largely, it is Akshay Kumar who has the most fleshed out role and shoulders most of the film. And he definitely shines in most of them getting the comic timing right. Needless to add, don't go looking for logic in Housefull4 (but still, how did the blood on Rana Daggubatti's blue jacket magically disappear in the last scene?). In the last 30 minutes, Kriti repeatedly asks, "Yeh sab kya ho raha hain?" A sentiment that could be echoed by the viewers. Overall, Housefull4 ends up as a complete mad caper. Which, if you're a fan of the Housefull brand of comedy, might appeal to you. But if you are not, then proceed with caution. The Final Verdict: Not so full of comedy.

Raghuvir Mehta is a down-on-his-luck entrepreneur, who fails at every new business venture he sets up. But a trip to China promises to change that and Raghu bites the bait. But soon as a result of this, he finds himself as a prime suspect in the murder of a Chinese General, in India. At first go, Made in China starts off on a sure footing as it sets itself up as a crime investigative story. A Chinese General is found dead after he helps himself to a cup of Chinese ‘Magic Soup’. The investigators believe that an ingredient found in the soup, which is derived from tigers, is the reason behind the General’s death. The owner of the soup company, Raghuvir and those who worked with him are summoned to get to the bottom of this mystery. And from here on, the film goes into a long flashback mode. In fact, so long, that you may not be blamed if you forget mid-way that this was all being related to uncover the story behind the death. After a series of failed businesses, Raghuvir aka Raghu (Rajkummar Rao) finally hits the jackpot as an underground supplier of a potent Chinese aphrodisiac. Though his journey to this successful stage of his life is an amalgamation of interesting anecdotes and people. There is his unplanned meeting with a potential invester, Tanmay Shah (Paresh Rawal); his daily dose of motivational mantras from the youtube videos of Mr.Chopra (Gajraj Rao), who spouts gems like, “Dimag ideas ka gamla hain,” ; his loving relationship with his wife, Rukmini (Mouni Roy), who he wants to see happy at any cost; his condescending rich uncle Mota Papa and cousin, Dhanraj (Sumeet Vyas), and finally, his most lucrative collaboration with Dr.Vardhi (Boman Irani), a 70 year old sexologist. Rajkummar Rao is endearing, sincere and heartfelt as the bumbling, under confident Raghu, who at the same time is also passionate enough to follow his calling, no matter how many times he fails. Boman Irani is a delight to watch as he gives an impassioned performance as Dr.Vardhi. Gajraj Rao, Paresh Rawal, Sumeet Vyas are in fine form. Mouni Roy as Rukmini puts in a decent effort. The setting and mileu of Ahmedabad is captured well. However, where Made in China falters is the weak storyline with digressions in the narrative and portions that feel like a stretch. There are some sparks of humor and a few crude jokes thrown in here and there. At the heart of it, Made in China carries the message of normalizing conversations around sex and exposing the taboo and hypocrisy surrounding it, which is a commendable effort but it also does get preachy. Overall, this one is Rajkummar Rao’s film all the way and worth a watch to savor his acting prowess. The Final Verdict: It's the performances that peak.

Sisters-in-law Chandro (Bhumi Pednekar) and Prakashi (Taapsee Pannu) are accustomed to the patriarchal ways of the society that they live in. They don’t agree with it or like it, but they are conditioned to put up with it, but at the same time, the ladies find their own little escapes to keep themselves going. At the age of 60, the two senior citizens, who live in Johri village (Uttar Pradesh), with their big family, accidentally discover that they have a flair for shooting. With some help from doctor-turned-shooting instructor Dr Yashpal (Viineet Singh), who sets up a shooting range in the village, they participate in various competitions and win medals. While they are busy honing their skills, the men in their house are oblivious to the new happenings in the lives of these ladies. They also inspire their granddaughters to follow suit. However, a twist in the tale leads them to bring a stop to the hide-and-seek, and face the men in the clan head-on. Right at the beginning of the film, director Tushar Hiranandani sets up the stage, giving the viewers a glimpse of a household, where a woman's identity depends on the colour of the dupatta that she drapes. In a scene, Bhumi explains to a newly-wed Taapsee that the women of the house stick to wearing a 'ghunghat' of a specific colour as it helps avoid confusion among the men in the house. Bhumi and Taapsee are in great form as grandmothers, who are willing to do anything to inspire and help their granddaughters. The two leading ladies carry the film on their shoulders effortlessly. Their indomitable spirit shines through even when the going gets tough. Whether it's sipping on many glasses of champagne or standing up when they are bullied by a bunch of teenagers, the two walk the road hand-in-hand and prove to be equally competent. At a few places, Taapsee steals an edge over Bhumi, but the latter quickly makes up for it. Filmmaker Prakash Jha, who turns antagonist here, does a good job and is menacing enough to evoke fear and contempt. Of the film’s songs, 'Womaniya' and 'Udta Teetar' add to the entertainment quotient and stay with you even after you leave the theatre. It's a good thing that the dialogues aren't preachy, but there's nothing memorable about them either. It’s the poor prosthetic make-up that ends up distracting you. The silver streaks in leading ladies' hair and patchy make-up is an eyesore. It’s to Bhumi and Taapsee’s credit that they overcome this hurdle and get you to look beyond it. While there is no doubt that this is an inspirational tale, it meanders a bit too long in the first half of the film, before finding stable ground. A tighter edit would have made it a far more gripping watch. The narrative also stumbles a bit when the game of hide-and-seek between the two daadis and their family starts getting a tad repetitive. Luckily, the director escapes that trap soon and sets things in motion when the two major face-offs in the film unfold. The characterisation seems unidimensional; there are exactly four good men, and no mean women in this tale. The film drives home the point of women empowerment, celebrates the bonhomie among women wholeheartedly, and attempts at every point to hit the bull’s eye. The Final Verdict: Taapsee and Bhumi shine in this fitting ode to women empowerment.