Ferrari

Frankly, Cruz’s turn alone is worth the price of admission.

The race itself is another of the movie’s astonishing set pieces; Mann and cinematographer Erik Messerschmidt give it a fresh sense of vroom, even if you think you’ve seen all the movie car races you’ll ever need.

Although there's sometimes a disconnect between parts of the story that deal with Enzo's personal life and the frenetic racing scenes, they somehow work together in tandem, combining to create one of Michael Mann's most emotionally satisfying films in years.

That liminal space between the peaks and the valleys of a person’s life is what Michael Mann is most interested in exploring.

Ferrari is a loud and thrilling race that leaves the figure of Enzo stranded on the side of the road, unknown and lost.

The racing sequences have enough energy and jeopardy to raise the pulse rate, but the rest of Ferrari... well, surely a film about high-speed cars shouldn't pootle along as slowly as this one does.

Among the undercooked female parts, Cruz converts a nothing wife role into fabulous distress. Even she can’t save Ferrari. Who knew a film about fast cars could be such a slog?

Excellent film from Mann and performances from the whole cast! I will definitely get a copy when it releases physically!

Ferrari had all the ingredients to stand out as one of the best films of the last awards ceremony and one of the most impactful of the year. With a pair of renowned protagonists, such as Adam Driver and Penélope Cruz, and the direction of Michael Mann, responsible for portraying the story of a prominent figure in the automotive world, expectations were high. However, what is planned on paper doesn't always materialize effectively in **** of the main criticisms leveled at the film was the attempt to simulate an Italian accent in a production with a strong North American bias. Although this was initially disconcerting, it wasn't the determining factor in the negative reception; other elements played a more significant role.Speaking of impact, this is one area where 'Ferrari' left something to be desired. Considering Enzo's relevance in the automotive universe, it was natural to expect more racing scenes and a deeper approach to the relationship between Enzo and his cars, as well as the family legacy he carries. However, these aspects are treated superficially in 'Ferrari'. The racing scenes fail to convey the emotion and adrenaline expected, concentrating more on Enzo's interpersonal conflicts, turning the movie into one big "Casos de Família".Despite the efforts of Adam Driver on stage, who delivers a reasonable performance, the highlight falls on Penélope Cruz, unfairly excluded from the Oscar nominations for her performance, losing her place to Annette Bening in 'NYAD'. Although she has less screen time, Cruz shines in each of her appearances, demonstrating talent and dexterity in her acting.Another highlight of 'Ferrari' is its exceptional sound mixing, a surprising aspect that inexplicably didn't receive its due recognition in last year's Oscar nominations. Michael Mann's ability to capture the sound of the track scenes is remarkable, as this element becomes more than a mere complement, it is essential for the viewer's immersion. The absence of this rich sound would completely compromise the emotional impact of the **** short, 'Ferrari' is a movie that could have reached higher heights. Despite the outstanding elements, the stellar cast and the competent direction, the production fails to achieve the expected impact and brilliance. Despite some positive points, the film can't escape the superficiality and lack of impact that characterize it.

In between unnecessary sex scenes, terrible visual effects, irregular pacing, questionable casting decisions, and the always unbearable feeling of seeing characters from other countries speak English with an accent, there is a good movie about Enzo Ferrari. Adam Driver does not disappoint as the iconic businessman and racing enthusiast, but he needs to move away from Italian roles ASAP. Penélope Cruz, on the other hand, understood the task very well, and her character's frustration gives life to a story that doesn't know if it wants to focus on racing or the tragedy of a family on the verge of psychological and economic collapse. Sports fans may feel a little cheated because it's not until the third act that they'll get their reward, but boy is it worth it with the way Michael Mann captured the speed and tension. On the other hand, those looking for good cinema will probably not come away convinced with a movie that feels close to what Ridley Scott did in 'House of Gucci.' A better editing would have helped a lot.

Starts off nicely with credible onboard car scenes and great engine sound. Adam Driver soon gets stuck in his booring ways, sex scenes stumbles in randomly without adding to the understanding of the characters and after some forty minutes when Mann shall show some race action all credibility gets off track and thats it for me...

Comme d’habitude, il faut prendre des pincettes, historiquement parlant, car après tout, il s’agit d’une biographie très romancée à un instant ‘t’, à un moment clé de la vie de l’homme de la marque légendaire ! et pour incarner le salopard, l’enfoirnaze de ‘Commendatore’, c’est Adam Driver qui s’y colle ! t’as compris la blague ? Adam Driver ! Ce n’est pas un mauvais acteur en soi, je dirais, mais il n’est pas forcément très bon, d’autant qu’il a une tronche de cheval… une tronche de cheval cabré ! et de cheval-vapeur. Et il mange des lasagnes. Et il conduit une 403, putain ! ça m’a tué presque tout le film, ça. Une putain de 403, t’es sérieux, là ? c’est un film sur Columbo en fait, on s’est trompé ! Sinon bah, c’est un film qui déboulonne le mythe si je puis dire, un film à charge peut-être mais tout de même… sa pauvre femme était bonne poire, elle aurait dû coulé la boîte et lui dire ‘vafanculo’… surtout que c’était elle, la ‘cornuta’ ! certes, on savait la réputation impitoyable du gars mais là, franchement, c’est dur. C’est peut-être à cause de Pénélope Cruz qui incarne à merveille, cette femme brisée, flouée et trompée… mais ça tue l’ambiance, c’est clair. Et la légende. Peut-être aussi à cause d’Adam Driver qui ne peut éviter la sortie de route, qui sait ? difficile d’éprouver de l’empathie pour lui, contrairement par exemple au Napoléon de Ridley **** tout cas, le film s’appesantit beaucoup trop sur le psychodrame familial et ne démarre la course qu’après une heure vingt ! Et là heureusement, c’est un festival de mécaniques enragées, une extase devant les courbes des Ferrari et Maserati et nos oreilles sont en pâmoison devant le chant des moteurs (un pur enchantement !!). La réalisation est de bon aloi malgré hélas lors de la course proprement dite, une propension à bouger et faire trembler la caméra dans tous les sens, ce n’est pas très sérieux. Quelques moments émouvants lors des accidents (en dehors de Pénélope qui ne verra jamais Ulysse) ou juste après… la course était impitoyable et il était judicieux et nécessaire de le montrer… mais pas avec des images de synthèse qui font pitié ! Finalement, ce film reste étonnamment décevant. On reste sur sa faim, la légende est souillée et ce qui fait et a fait Ferrari, l’essence même de Ferrari (bientôt des merdes 100 % électriques bien sûr) est escamoté. Heureusement que les vraies bagnoles, ces furies du temps jadis sont encore là, elles parlent mieux que n’importe quel scénario ou film !