You could program a double feature about high-pressure jobs out of a pair of recent releases: the latest from Michael Mann and Germany's Academy Awards submission.
I watch a fair amount of horror movies and violent action films, but the horrific moment in Ferrari that Keith mentions might be the most upsetting thing I've seen this year.
Same... Saw it last night and just like multiple rounds of gasps. Maybe the best moment in a movie theater this year along with the test in Oppenheimer. Neither movie will make my top 5 but Damn if I don't appreciate moments like this in a theater especially post covid. Along with just seeing Barbie on opening night, FULL theater, everyone dressed up and shouting at the screen. Felt like a midnight watch of Rocky Horror.
The period detail in Ferrari is sumptuous and I admire Mann’s meticulous nature there, but I wasn’t impressed with the film. While it is not the fault of the film that it came after Ford v Ferrari and House of Gucci, it hurts Mann that in both plot beats and theme he’s in very familiar territory.
It also never resolves, even in text at the end, one of the major plot lines - the struggles of Ferrari the company.
I’d love to see this remade as a “man’s life is falling down around him” style thriller a la Arbitrage or Boiling Point, rather than with the unexciting pace of a biopic.
Plus how you could mention Shailene Woodley without adding the phrase “woefully miscast” I’ll never know.
Ahhhh the expectations game. But her accent was so bad that I wondered while watching if the character was actually Polish or something in real life and that explained her accent
Yeah felt not complete to me as well, but then was thinking about it and I think it was actually well set up to resolve the company issues in the lead up to the race. And during it with Enzo's "okay" after talking to fiat. And then they win. In hindsight I actually appreciate how little explication there was after the race to tie up this loose end - which actually isn't. However, your point is still taken - something did feel incomplete still to me and unsatisfying and it just felt like it ended with a sigh or just faded out. I was left with Enzo's comment myself when the credits came up: "okay"
between the review of Iron Claw and now Ferrari, it seems clear that biopics are for some reason really constrained in their formatting. but I don't understand why this is necessarily so. is it to get acceptance from existing family? is it forced by studios?
I haven't caught up with Ferrari yet, but it seems to me that Mann has done something similar to his ALI in that he's using a set timeframe-- the year 1957 here, the "Rumble in the Jungle" for ALI-- to express what he wants to say about a person. To me, that's the best approach to a biopic, because not as tied to the structureless ups and downs of a fuller chronology, which can lead to a movie like THE IRON CLAW seeming a bit thinned-out.
I didn’t see Ford Vs. Ferrari but I understand it sets up the Ferrari-verse continued in this film, correct?
lol. It does cover some of the same ground
It's so good. Nothing like this movie. But it absolutely rocks.
I watch a fair amount of horror movies and violent action films, but the horrific moment in Ferrari that Keith mentions might be the most upsetting thing I've seen this year.
Everyone in my theater gasped audibly. I haven’t seen anything quite like it.
Mine too--I haven't heard a crowd react like that in a long time to something like that
Same... Saw it last night and just like multiple rounds of gasps. Maybe the best moment in a movie theater this year along with the test in Oppenheimer. Neither movie will make my top 5 but Damn if I don't appreciate moments like this in a theater especially post covid. Along with just seeing Barbie on opening night, FULL theater, everyone dressed up and shouting at the screen. Felt like a midnight watch of Rocky Horror.
The period detail in Ferrari is sumptuous and I admire Mann’s meticulous nature there, but I wasn’t impressed with the film. While it is not the fault of the film that it came after Ford v Ferrari and House of Gucci, it hurts Mann that in both plot beats and theme he’s in very familiar territory.
It also never resolves, even in text at the end, one of the major plot lines - the struggles of Ferrari the company.
I’d love to see this remade as a “man’s life is falling down around him” style thriller a la Arbitrage or Boiling Point, rather than with the unexciting pace of a biopic.
Plus how you could mention Shailene Woodley without adding the phrase “woefully miscast” I’ll never know.
Maybe it’s just I’d heard how miscast she was that it didn’t feel that bad to me? She’s not great. Just kind of there.
This is pretty much exactly how I felt, which is still a less than ideal reaction to such an important character.
Ahhhh the expectations game. But her accent was so bad that I wondered while watching if the character was actually Polish or something in real life and that explained her accent
Yeah felt not complete to me as well, but then was thinking about it and I think it was actually well set up to resolve the company issues in the lead up to the race. And during it with Enzo's "okay" after talking to fiat. And then they win. In hindsight I actually appreciate how little explication there was after the race to tie up this loose end - which actually isn't. However, your point is still taken - something did feel incomplete still to me and unsatisfying and it just felt like it ended with a sigh or just faded out. I was left with Enzo's comment myself when the credits came up: "okay"
between the review of Iron Claw and now Ferrari, it seems clear that biopics are for some reason really constrained in their formatting. but I don't understand why this is necessarily so. is it to get acceptance from existing family? is it forced by studios?
I haven't caught up with Ferrari yet, but it seems to me that Mann has done something similar to his ALI in that he's using a set timeframe-- the year 1957 here, the "Rumble in the Jungle" for ALI-- to express what he wants to say about a person. To me, that's the best approach to a biopic, because not as tied to the structureless ups and downs of a fuller chronology, which can lead to a movie like THE IRON CLAW seeming a bit thinned-out.
“The wrong son died”
Oh no