Ferrari Movie Review – Michael Mann’s Take on the Iconic Italian Engineer

Ferrari Movie Review: Adam Driver joins forces once again, this time with acclaimed director Michael Mann, expanding his impressive collaborations with luminaries like Noah Baumbach, the Coen brothers, and Martin Scorsese. This collaboration signifies a new chapter in Driver’s illustrious career in the realm of cinematic auteurs.

In “Ferrari,” Mann leads us through the captivating life of Enzo Ferrari, portrayed by the magnetic Adam Driver. The film delves into Ferrari’s desires, exploring struggles, loss, relationships, and the state of his car business.

Mann’s thematic signature is evident in “Ferrari” — a man ensnared by his desires. The movie raises questions about success’s cost without illustrating how managing drivers contributes.

Driver, recognized for his magnetic presence, embodies Ferrari’s internal conflicts. However, the film falters, with Driver feeling miscast and the Italian accent not reaching its full potential since “House of Gucci.” Shailene Woodley, playing Ferrari’s mistress, seems almost a linguistic foil, amplifying Driver’s attempts at authenticity.

Ferrari Movie Review / Movie Trailer

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The film wisely avoids the expansive scope of a traditional biopic, focusing on a critical juncture in Ferrari’s life. However, Driver’s performance sometimes seems lost in the thin script, where character motivations feel assumed rather than animated.

Enzo Ferrari’s passion for car design and racing should be the film’s beating heart, yet it falls short of being convincing. Mann’s exploration of Enzo as an engineer and manager lacks the depth seen in his masterpiece, “Heat,” where characters appreciate each other’s skills. The ambiguity surrounding Enzo’s competence leaves the audience yearning for more substance.

Amid uncertainties, Penélope Cruz shines as Laura Ferrari, delivering a familiar yet inspired performance. Her portrayal of a woman grappling with anger and bitterness towards Enzo’s decisions adds depth. Laura Ferrari becomes an unpredictable character, more thrilling than witnessing a classic Ferrari tearing down the track.

Even the race sequences, crucial in a film about iconic sports cars, feel underwhelming. The scant pair of races lack expected intensity, with confusing constructions and unclear scoring mechanics. The sound design, at least during the New York Film Festival press screening, adds to the disappointment, failing to capture Ferrari’s raw power.

In the end, “Ferrari” struggles to find direction, each swerve feeling imprecise, and detours taking the film further into uncertainty. Mann’s exploration of masculinity as a trap, while compelling, fails to rescue the film from storytelling and execution lapses.

In the world of “Ferrari,” where ambition and obsession reign supreme, Michael Mann might be navigating in circles. As the credits roll, one wonders if “Ferrari” is just another lap in Mann’s cinematic journey or a departure from the extraordinary. Your mileage with this film may vary based on your appreciation for Mann’s recurring themes and the allure of Adam Driver’s enigmatic presence.

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