Directed by:
Michael MannScreenplay:
Troy Kennedy-MartinCinematography:
Erik MesserschmidtComposer:
Daniel PembertonCast:
Adam Driver, Penélope Cruz, Shailene Woodley, Gabriel Leone, Sarah Gadon, Alessandro Cremona, Jack O'Connell, Patrick Dempsey, Daniela Piperno, Lino Musella (more)VOD (4)
Plots(1)
During the summer of 1957, bankruptcy looms over the company that Enzo Ferrari and his wife built 10 years earlier. He decides to roll the dice and wager it all on the iconic Mille Miglia, a treacherous 1,000-mile race across Italy. (Roadshow Films)
Videos (11)
Reviews (10)
Michael Mann returns after a long time with the stiffing biopic Ferrari, and it's fine, although more was expected. It seems to me that all the big directors, except for Nolan, have disappointed and failed to fully realize their potential this year. Those who expect another Ford vs Ferrari, Rush, or Gran Turismo from Ferrari will be slightly disappointed because the you won't get to enjoy many races. Even the final race lacks drive, tension, and atmosphere. Mainly, I didn't understand the rules, so it doesn't give you proper satisfaction, and the fact that the racers themselves are uninteresting and the rivalry with Maserati could and should have been tangible and impactful is also to blame, but when I consider that Michael Mann mainly wanted to shoot a film about Enzo Ferrari and his personal life and problems, and the race itself is just there, so to speak, I'm fine with it. Because when it comes to acting, it's top-notch quality. Adam Driver is excellent, I liked the dialogues and his performance, he's just an interesting personality. Penelope Cruz also skillfully supports him, portraying a pissed-off woman perfectly. These interactions between them are nicely intense. The retro visuals and the atmosphere of post-war Italy are also well done. Surprisingly, Mann manages to keep the viewer's attention and I wasn't bored, which is rare for these kinds of films. In conclusion, I have to highlight one shocking scene that shook every viewer in the audience! There is one uncompromising and brutal scene that even includes gore! Severed limbs, intestines, split bodies, I really didn't expect that in such a film, so a big PLUS! If Mann had captivated me with the final race and there had been a business meeting with Fiat, which seemed attractive (too bad there wasn't enough time for it), maybe I would consider giving it a full rating, but like this, it has to settle for a pleasant four out of five. 75%
()
After many years, Michael Mann has fulfilled his dream and he does so with honour. But I can't help feeling that if he had taken the time to make it in his golden era in the 1990s, the result would have been much more daring. After all, this film about the fastest cars of its time doesn't exactly pull off the double whammy, surprisingly, especially on the track. As far as the Italian household of Ferrari is concerned, it's two gears better there thanks to the diabolical Penélope Cruz. Outside of the domestic tussle, however, on a comparable budget to the 4-year-old Ford vs Ferrari, Ferrari alone delivers considerably less value in terms of scale, suspense and action (the outlined rivalry with Maserati is just worthy of this bracket). Yes, the Millie Miglia was a completely different motorsport event from Le Mans, but the drama is always created by the racers themselves anyway, andin Mann's rendition they are bland. A great shame given the otherwise historically turbulent development of this race.
()
I’m not sure if Michael Mann intended for the thunderous roar of engines during the Messerschmitt flybys to fall short in appeal compared to the female element processing the sage from Maranella with force, pain, and anger. That the performance and graceful curves of the red beauties he’s been dreaming of for decades wouldn’t be enough to compete with the horsepower of Madrid’s stinger. The detached Driver is just as good. When it comes to racing cars, the Commendatore is merely a colleague in both homes, still with much to learn.
()
The opposite of Le Mans in many ways. In terms of time narrative, it is a small, intimate racing film, a study of the tormented genius of Enzo Ferrari from the surprising perspective of a family drama, not a flashy driving symphony of speedsters. It's not that there's no driving, and it even has a nicely retro tone with an extreme dose of realism and physicality (except for those awful digital flying cars), but Enzo's living room, bedroom and office are the primary focus. Michael Mann has made a dream come true, in a largely un-Hollywood, non-mainstream way. It's going to be hard to make a lot of money with this film, but the production values are solid. It's not the genre we're used to with Mann, and some of his traditional trademarks are not and can't be here, but he hasn't disgraced himself.
()
Michael Mann tells the story of one short period in the life of the owner of the famous car company. And unfortunately he tells a story that is not very attractive or engaging. In addition, Adam Driver plays a distant, cold professional who keeps his emotions in check, resulting in a rather dull film. This changes in the last part, when the racing starts and Mann shows that he's still good at directing action, even if he can come across as somewhat old-fashioned. Overall, though, Ferrari is a pretty uninteresting film about people struggling with a personal crisis and a once-in-a-lifetime loss, only that one of them happened to be a car designer.
()
Ads