FERRARI | Official Teaser Trailer (Christmas 2023) (Adam Driver, Penélope Cruz, Patrick Dempsey)
- Thread starter Deltron
- Start date
SilverSamurai
All Star
Gonna try to see this at NYFF
Looks like Mann at his best, even if I prefer when he's in the criminal world/violence, more than Ali, The Insider, but there other forms of violence, which this looks like it explores, violence of romance, violence of ambition. The car crash is supposed to be brutal.
He has a new interview in Variety, that touches on everything, worth reading.
especially the shot of the drivers at night, looks like classic Mann.
He has a new interview in Variety, that touches on everything, worth reading.
especially the shot of the drivers at night, looks like classic Mann.
Oscar confirmed
Gotdamn this movie SUCKS!!!
Zostrianos
Pro
shyt was boring
2 Up 2 Down
Superstar
The movie felt like it was missing something. I think if they focused a bit more on the drivers the final race would've been more impactful
yeah
only really good part was the race then...
the crash site 
but they made driver look old and
af
Zostrianos
Pro
Penelope Cruz was great. Not convinced Adam Driver is a solid leading man.
The accents were all over the place
The accents were all over the place
Mann is my favorite director, but if he weren't directing, I would have almost no interest in this, rarely watch biopics, sports, whatever, but Mann is always going to command my attention, make me sit up n my seat, when he gets in that zone, and this is no exception
The racing scenes were stunning, the way he shot Italy and the race, were masterful. The opening scene of Enzo was perfect. If I had to quikcly capture my thoughts, I would say the domestic scenes and plots just didn't really move me, though the performances were excellent, and the script was never bad, even if it did hit genre cliches a few times. All the stuff about children dying and war flashbacks was pretty clumsy. The wrong son died.
The movie really came alive in a few sequences, the first scenes of Enzo, the scene of the first crash, the scenes at the table, (two objects cannot occupy the same point in space), the scenes were the men write the letters, and the race itself. I would have cut the domestic drama almost entirely. And just let all those scenes breathe more.
Probably just used Italian too. with subtitles. The score was perfect, restrained and subtle. Those scenes were where Mann really lived - the men going to battle, the men resigned to their fate, the men who tempt it, the lack of attachments, seeking a kind of freedom in violence and honor, a kind of transcendence. That's all classic Mann. He felt a little out of step in the domestic scenes.
This is Mann much more elegant, classical style, different from his last 20 years of movies almost. This is closer to Ali but even that was a little more experimental. You can see his love of cars and racing and the history, it's richness in the movie. Told that story of my boy running into Mann in the Palisades in a new 488 Ferrari last year, LOL.
The racing scenes were stunning, the way he shot Italy and the race, were masterful. The opening scene of Enzo was perfect. If I had to quikcly capture my thoughts, I would say the domestic scenes and plots just didn't really move me, though the performances were excellent, and the script was never bad, even if it did hit genre cliches a few times. All the stuff about children dying and war flashbacks was pretty clumsy. The wrong son died.
The movie really came alive in a few sequences, the first scenes of Enzo, the scene of the first crash, the scenes at the table, (two objects cannot occupy the same point in space), the scenes were the men write the letters, and the race itself. I would have cut the domestic drama almost entirely. And just let all those scenes breathe more.
Probably just used Italian too. with subtitles. The score was perfect, restrained and subtle. Those scenes were where Mann really lived - the men going to battle, the men resigned to their fate, the men who tempt it, the lack of attachments, seeking a kind of freedom in violence and honor, a kind of transcendence. That's all classic Mann. He felt a little out of step in the domestic scenes.
This is Mann much more elegant, classical style, different from his last 20 years of movies almost. This is closer to Ali but even that was a little more experimental. You can see his love of cars and racing and the history, it's richness in the movie. Told that story of my boy running into Mann in the Palisades in a new 488 Ferrari last year, LOL.
Also, the small nods, intentional or not, that are just features of Mann's style:
the shots of the drivers getting off the train, very much like Heat and Collateral opening scenes
The opening shot of Enzo waking up, reminded me of Pacino in heat, how vulnerable we first see him, as opposed to De Niro, shot in dark/blue light, alone, walking off the metro, Pacino is less clothed and in bed.
The insider nature of the movie, probably caught most of the audience off guard, nothing is explained, they all talk in insider terms, and hushed voices, not a lot of exposition, beside the clumsiness of the domestic scenes, like Miami Vice, or Blackhat, or Collateral, the speak about engines and rates of speed, highly technical Ferrari shyt like you are supposed to know
Funny story, or kinda funny:
As I am walking in, the theater is marked with a different movie, and my ticket is stuffed in my pocket with a roll of money, and there's a kid walking in the same theater, probably 18-22, looks white, looked American to me. Sober. Clean cut.
and I say Ferrari? He looks at me like I am slow.
I say again Ferrari? and nod towards the hallway
again, he looks at me dumbfounded. and I kind of lose patience, and say Never mind bro, and move past him. He looks at me so weird, that I say WHAT MOVIE ARE YOU SEEING?
and he says The one with the drivers...makes a motion like he's driving a car lol-- Seemed like perfect english. Maybe he was from D.F or something.
I said ok cool, and walked in. but sometimes I look at these interactions with kids like what is wrong with them? What other context would I be using the word Ferrari in? You don't know or can't guess the name of the fukking movie you are seeing?
the shots of the drivers getting off the train, very much like Heat and Collateral opening scenes
The opening shot of Enzo waking up, reminded me of Pacino in heat, how vulnerable we first see him, as opposed to De Niro, shot in dark/blue light, alone, walking off the metro, Pacino is less clothed and in bed.
The insider nature of the movie, probably caught most of the audience off guard, nothing is explained, they all talk in insider terms, and hushed voices, not a lot of exposition, beside the clumsiness of the domestic scenes, like Miami Vice, or Blackhat, or Collateral, the speak about engines and rates of speed, highly technical Ferrari shyt like you are supposed to know
Funny story, or kinda funny:
As I am walking in, the theater is marked with a different movie, and my ticket is stuffed in my pocket with a roll of money, and there's a kid walking in the same theater, probably 18-22, looks white, looked American to me. Sober. Clean cut.
and I say Ferrari? He looks at me like I am slow.
I say again Ferrari? and nod towards the hallway
again, he looks at me dumbfounded. and I kind of lose patience, and say Never mind bro, and move past him. He looks at me so weird, that I say WHAT MOVIE ARE YOU SEEING?
and he says The one with the drivers...makes a motion like he's driving a car lol-- Seemed like perfect english. Maybe he was from D.F or something.
I said ok cool, and walked in. but sometimes I look at these interactions with kids like what is wrong with them? What other context would I be using the word Ferrari in? You don't know or can't guess the name of the fukking movie you are seeing?