Movie Reviews
Ferrari movie bores as much as it thrills
![Ferrari movie bores as much as it thrills](https://images.perthnow.com.au/publication/C-13114362/96f0fe8f2c55773a1d90461fe06971ed802b53b6-16x9-x0y0w1920h1080.jpg?imwidth=1200)
Racing legend Enzo Ferrari was a complex man and Michael Mann’s biopic is a complex film.
Set in one year of Ferrari’s life, 1957, Mann highlights the many competing challenges Ferrari had to contend with, but doesn’t excuse him for his capacity to be cold, detached and ruthless.
There are probably three different films contained within Ferrari and much like the myriad elements of a car engine, it can work in symphony, and at other times, it stalls and sputters out. Ferrari is a patchy movie that bores as much as it thrills with its lethargic pace.
At the heart of it is a portrait of a man who could be loving and warm but rarely allows himself to feel connected when he’s surrounded by so much death.
Witness the moment when driver Eugenio Castellotti (Marino Franchitti) goes off-track during a test and the car and him is thrown metres into air. It’s certain death. Enzo’s (Adam Driver) face is unmoving, and he tells the aspiring racer standing next to him, Alfonso de Portago (Gabriel Leone), to call his office on Monday. A spot on the team has just opened him.
Taken on its own, it’s a scene that makes a callous monster out of him but placed within the wider context of the film and of the dangerous history of race-car driving, it makes more sense.
The film takes place a year after Enzo and his wife Laura (Penelope Cruz) lost their only son to an illness. The grief hangs over them both and their fractured relationship. Laura is a spitfire, fuelled by a bitterness and a toughness in Cruz’s performance. She and Enzo may have an arrangement, but it doesn’t mean she’s not hurt by his infidelity.
The only people Enzo softens around is his mistress Lina (Shailene Woodley) and their son Piero (Guiseppe Festinese), who has stashed away in a secret country house.
The other aspect of the film is this messy personal situation has intersected with the revelation that Ferrari is on the brink of receivership. Enzo is only interested in racing and as he says, he sells cars to fund the racing, not the other way around.
He needs to mastermind a financial partnership with outside investors without losing control over the business, and the only way he can do that is Ferrari wins the Mille Miglia, a notorious 1000-mile competition that is driven on Italy’s public roads and resulted in 56 deaths over its 30-year history.
The 1957 Mille Miglia happens to be the last time it was ever raced and there is an infamous crash scene late in the game that details why – Mann restages it in gratuitous slow-motion and you really have to ask why that was necessary to make the point that racing is a deadly, deadly pursuit.
Mann weaves together a lot of elements and it doesn’t always work. Nor do you always believe if the 40-year-old Driver, as prodigiously talented as he is, is passing for Enzo at 59. In the moments when the film lulls, that age difference becomes distracting.
What Ferrari does well is the cinematography by Erik Messerschmidt (a two-time collaborator of David Fincher’s), Cruz’s performance and in exploring the effect of Enzo on the women in his life. There are also individual scenes that put goosebumps on your arm, such when Enzo is visiting his dead son’s mausoleum.
But Ferrari is not a sprint to the finish, it demands patience and it doesn’t always mount the argument that it deserves it.
Rating: 3/5
Ferrari is in cinemas now
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Movie Reviews
Movie review: 'Despicable Me 4' fun for kids, nightmare for adults
Movie Reviews
‘Kinds of Kindness’ review: Darkly comedic anthology explores humanity
![‘Kinds of Kindness’ review: Darkly comedic anthology explores humanity](https://i0.wp.com/aiptcomics.com/wp-content/uploads/2024/06/Kinds-Of-Kindness-1.jpg?resize=1000%2C563&ssl=1)
Throughout his filmography, Yorgos Lanthimos is interested in themes of love and obsession, often explored with characters, who seem to be living on the edge of normal society, as evident in 2009’s Dogtooth, which centered on a husband and wife who keep their children ignorant of the world outside their property well into adulthood. 2024 is already quite the year for the Greek director as his previous outing Poor Things has been a critical and commercial success that has won four awards at this year’s Oscars, and now his latest feature Kinds of Kindness is finally released.
Amidst the Frankenstein-like science and “furious jumping”, Poor Things is more of a crowd-pleaser through its story of self-discovery within the harsh reality of the otherwise outlandish world. Reunited with his long-time collaborator/co-writer Efthimis Filippou, Kinds of Kindness – set in modern-day New Orleans – is closer to Lanthimos’ earlier work like The Lobster and The Killing of a Sacred Deer, where people are plunged into situations that effectively shake up their lives and lose any touch of humanity in order to get out of it.
Since Lanthimos’ films often challenge you, though not without some dark humor creeping into the mix, Kinds of Kindness is essentially three films for the price of one, with the same seven actors – Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn and Mamoudou Athie – appearing in each one in a different role.
The first of which, titled “The Death of R.M.F”, is about Robert Fletcher (Plemons) who follows every order that is given to him by his controlling boss, Raymond (Dafoe), until he refuses to do an act which causes his life to fall apart. Similar to Lanthimos’ 2019 short film Nimic, it is a darkly funny study of a man who regrets this one decision and how it spirals out of control, with an extraordinary turn from Plemons, who tries to maintain his composure and yet it looks he’s about to break.
Considering the disturbing outcome of the first narrative, it feels tamed compared to the second story, “R.M.F. is Flying”. Left emotionally devastated after the disappearance of his wife Liz (Emma Stone), a marine biologist, police officer Daniel (Plemons) receives a call saying she has been rescued. As she returns home, her strange and seemingly reversed behavior leads to Daniel suspecting her of being an imposter. As well as being more disturbing and ambiguous than the other two narratives, “R.M.F. is Flying” cements a central theme which is somewhat meta to the film’s multiple casting of the same actors, playing characters who are wrestling with their own identity. Playing a married couple that is becoming more about obsessive delusions, leading to horrific abuse, Stone and Plemons are amazing in roles where you can’t tell whose side you should be on, if any.
As great as Emma Stone is in the first two narratives, it is in “R.M.F. Eats a Sandwich” where she really gets to shine, and yes, this is where she performs her improvised dance that has been used in the film’s promotion. In this third and final instalment, Emily and Andrew (Stone and Plemons) are two cult members who are looking for a woman with the ability to bring back the dead. Considering this is the closest to a Coen Brothers film, where it almost feels like an enjoyable crime caper, what could easily be a cautionary tale about not joining a sex cult led by Dafoe’s Omi, the story makes a dark implication into why Emily would choose the life of a cultist, as seen in a scene where she revisits her old life as a mother and a wife.
Considering the hopeful nature and visual experimentation of Poor Things, whether consciously or not, it feels Lanthimos wants to return a world where there is no positive outcome of anybody, whilst cinematographer Robbie Ryan, shooting on 35mm Kodak film, presents a stunning, if mundane look of the many settings of New Orleans. Amongst the loose connective tissue between these three tales, including the brilliant cast and similar locations, the only sense of hope that Kinds of Kindness is the dreams that some of the characters have and no matter how nonsensical they are, it is better than the harshness that the real world can throw at them. One dream involving dogs delivers the biggest laugh-out-loud film of the entire film.
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Movie Reviews
“The Boy and The Heron” by Hayao Miyazaki, Movie Review – Signals AZ
![“The Boy and The Heron” by Hayao Miyazaki, Movie Review – Signals AZ](https://www.signalsaz.com/wp-content/uploads/2024/06/The-Boy-and-The-Heron.jpg)
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When Hayao Miyazaki announced that 2013’s The Wind Rises would be his “final” film, many suspected that an artist of his caliber would eventually return to create again if given the chance.
Release Date: 07/14/2023Runtime: 124 minutesDirector: Hayao MiyazakiRotten Tomatoes: 97%iMBD: 7.6/10Where to Watch: Apple TV, Amazon Prime Video, Fandango at Home, Google Play Movies, YouTube |
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Ten years later, the legendary Japanese animator, known for classics like Spirited Away, Castle in the Sky, and Princess Mononoke presented us with perhaps his definitive work. This new magnum opus combines the finest elements of his previous films into something sure to be considered the greatest Hayao Miyazaki film of all time.
In the story, eleven-year-old Mahito loses his mother in a hospital fire during World War II
His father soon remarries—his late wife’s sister—moving them to the countryside where he can apply his manufacturing profession to the war effort and support his family as they welcome a second child. Behind their new rural home looms a strange, abandoned tower, and around the pond on the estate grounds flies a mysterious heron.
![](https://www.signalsaz.com/wp-content/uploads/2024/06/Phippen-Museum_AIA.jpg)
![](https://www.signalsaz.com/wp-content/uploads/2024/06/Phippen-Museum_AIA.jpg)
When his new mother enters the forest in the delirium of pregnancy, the entire estate goes searching for her. Only Mahito knows that the path to finding her leads into the tower.
The heron lures Mahito inside, and he soon finds himself in a dreamlike world that would make L. Frank Baum and Lewis Carroll proud
Unlike The Wizard of Oz or Alice in Wonderland, this narrative leads Mahito into a “world of the dead”—not in the morbid sense typical of Western mythology, but a beautiful realm where spirits migrate between planes of existence. From there he finds himself embarking on an adventure deeper into the world of dreams and death, where he ultimately learns to come to terms with the loss of his mother.
Like the greatest fairytales and childhood fantasies, The Boy and The Heron navigates its mythological story with a dream-logic familiar to anyone who’s plumbed the landscapes found in the deepest sleep.
What sets this film apart from similar narratives—in addition to its uniquely Shintoist approach to mythology—is the masterful cinematography and animation displayed across every frame
From beginning to end, this film showcases a master and his team working at the peak of their craft. It’s a childhood adventure on par with other classics in the genre, sure to take audiences of all ages on a journey they won’t soon forget, and one that begs for a second viewing by the time the credits roll.
About our Admit One Author
Isaac Frankel is a freelance writer and content creator specializing in reviews and analysis of cinema, interactive media, and mythological storytelling. He was raised in Prescott, AZ, wrote his first non-fiction book in 2013 after graduating from Tribeca Flashpoint College with a degree in Game & Interactive Media Design, and currently produces content for the YouTube channel: Off Screen.
More of his work and current projects can be found at www.isaacafrankel.com.
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