FORD V FERRARI Review

Ford v Ferrari is what one would call a well-rounded picture. Meaning, that it is wholly and completely a feel-good movie while also carrying a significant amount of weight. In other words, it will break your balls and your heart at the same time. It is big, flashy and somewhat indulgent large-scale studio filmmaking in the most classic sense of the idea as director James Mangold (Walk the Line, Logan) casts two larger than life personalities to portray two larger than life personalities against the backdrop of an historical event that is globally appealing yet couldn’t feel more American at its core. This is somewhat ironic given the type of racing Matt Damon’s Carroll Shelby and Christian Bale’s Ken Miles are seasoned in and the kind the Ford Motor Company is interested in engaging in is far more popular in the rest of the world than it is the United States, but like I said...well-rounded. While Ford v Ferrari boasts an impressive ensemble cast and truly immersive racing sequences that sometimes almost literally put you in the driver's seat the film is at its best when focusing on those two larger than life personalities and dissecting these men who, in many ways, are rightfully convinced of their own certainty but who take blows to their egos when they have to deal with things they aren’t expressly exceptional in. Whether it be Shelby coming to terms with his fragile mortality, Miles dealing with the bureaucratic nature of corporations as his intelligence and skill come face to face with entitled money and extending even to Henry Ford II (Tracy Letts, who's terrific) as he-someone who has every reason to believe he's in full control of every aspect of his life-is humbled in an instance where he comes to not only realize, but understand that there are things he simply can't understand and will never be able to control. Ford v Ferrari isn't necessarily about the tampering of men's egos and it doesn't aspire to explore the manifestations of as much through these cars and the amount of risk being taken by their drivers, but more it seems to seek to better understand these people through this thing they've given their life over to whether it be out of passion or inheritance. With such strong attitudes and strong points of view on display these characteristics are naturally lent to the film itself giving the entirety of the production this sense of confidence and control; both of which a good movie and a good driver require in order to be successful.

Official Trailer for FORD V. FERRARI Starring Christian Bale & Matt Damon

While Walk the Line was unfortunately released under the shadow of Ray, I always found it to be the more arresting film and have since been a loyal fan of director James Mangold; cheering him on as he made his way through the super hero genre with the character of Wolverine and coming to re-define the genre in many ways with Hugh Jackman's farewell to the character in 2017's Logan. Mangold has of course had his missteps (we won't harp on Kate & Leopold), but I didn't seem to mind Knight & Day as much as most and thought the 3:10 to Yuma re-make was quite fascinating. In his latest, an adult drama in the purest sense of the phrase, Mangold reunites with Christian Bale to tell the story of two men, American car designer Carroll Shelby (Matt Damon) and driver Ken Miles (Bale), as they battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford and challenge Ferrari at the 24 Hours of Le Mans in 1966. Written by Jez and John-Henry Butterworth (Fair Game, Edge of Tomorrow) along with Jason Keller (Escape Plan) with the screenplay itself being credited to Mangold, it's almost surprising a movie like this can still be made on the scope it has and with the grandeur this production seems to entail (this thing looks amazing) while not having been backed by Netflix or Amazon. Rather, 20th Century Fox is breaking out these big guns this awards season as this was originally scheduled to be released this summer, but was pushed back for a better chance at awards consideration. The film will no doubt be touted as Mangold's follow-up to his critically and commercially successful Logan that features two "movie star" names at the top of their games telling a fascinatingly wild story that will appeal to a variety of audiences alike. A film version of these events has been in the works for some time as the story goes that Shelby and Miles were dispatched by Henry Ford II and Lee Iacocca (Jon Bernthal) themselves to build an entirely new vehicle from scratch that could finally defeat Ferrari. This is all to say that while Bale and Damon look to be at the top of their game if the trailer is any indication the true scene-stealer will be Tracy Letts as Ford II as he gets to close out this teaser in pretty fantastic fashion. Ford v Ferrari also stars Caitriona Balfe, Josh Lucas, Ray McKinnon, Noah Jupe, and opens on November 15th.

BATTLE OF THE SEXES Review

Going into directors Jonathan Dayton and Valerie Faris' (Little Miss Sunshine) take on the legendary tennis match between Billie Jean King and Bobby Riggs in 1973 I had no real idea of the historical context of the movie or even of the individuals involved and so, needless to say, I was about to get a history lesson from what is arguably the worst place to receive a history lesson: the movies. Still, if one can appreciate cinema as an art form to encapsulate a moment or a culmination of events-a cinematic summary if you will-rather than an accurate depiction of every detail surrounding certain subjects that tend to be true, then we should be okay. While I still don't know much more about the showdown between King and Riggs outside of what I learned in screening Battle of the Sexes what I can say and likely what is the best thing the film has to offer is the insight into just how average casual chauvinism was in that day and age. Without blinking, in one of the opening scenes, Bill Pullman as Jack Kramer-a former professional tennis player and head of the prestigious tennis association King and many of her female counterparts were members of-tosses out how much of a fact it is that men are not only faster and stronger than women, but more competitive by nature. That it's biology. The most revealing part being that Kramer doesn't actually mean this to be offensive because he doesn't think of it as being offensive, but rather that it is simply the truth. While this level of arrogance still exists and is likely even worse in some circles today (don't believe me, look at the YouTube comments on the trailers for this movie) it has been amplified to a defensive level because time has also allowed for women to gain more and more of the equality they seek and so rightly deserve. As a white male I always find it difficult to complain about anything as I've certainly never faced anything insurmountable in my life and while I don't want to make this movie review a discussion about where my opinion falls as far as women's rights and such it kind of shocks me a movie such as this is even considered something of a statement nearly forty-five years after the fact when one would imagine human intelligence might have moved on to understanding that women are better at some things than men and men are better at some things than women, but regardless we all deserve the same type and, more importantly, the same amount of respect. It's not a difficult concept to grasp, but if Battle of the Sexes is a rather by the numbers sports biopic it at least serves to show audiences how little we've actually progressed and how much farther we have to go.

TAKEN 3 Review

If only these Taken movies escalated themselves to an R-rating we might have something of more aspiration here. Instead, this series quickly dissolved into quick cash grabs that felt like little more than afterthoughts to everyone involved. The original film seemingly caught everyone off guard with its brilliant marketing campaign and the inherent rush of excitement it delivered to the point that when we were looking for more of the same from the sequel, none of those surprising feelings were readily available. It seemed the general consensus on the Olivier Megaton-directed sequel was that it was rather horrible and resorted to showing Liam Neeson's Bryan Mills smother folks to death rather than doing anything that was actually impressive. And yet, here we are with the third and presumably final film (again directed by Megaton no less) and it does little to redeem the legacy of what was originally the film responsible for bringing us the Neesploitation period, but may actually tarnish that legacy the more I continue to think and write about the film. If one wonders why such a pedigreed actor such as Neeson would continue to return to a series that has long since run its course you'd only have to look as far as his paycheck to find an answer. To be clear: Taken 3 has a reported budget of $48 million and almost half of that budget was consumed by the actors salary. For this third film Neeson was paid a handsome, and very exclusive, $20 million. So, if you thought the makers of this unnecessary sequel might take the road less traveled or that Mr. Neeson might use his pull and demand he only appear in the film if they came up with a story that truly justified another film you're sorely out of luck as he is laughing all the way to the bank. People clearly don't care though because despite the second film being little more than a cash grab with little effort to hide that intention and this third film being nothing except more of the same, folks still showed up in droves when they could have been seeing the best film of the year instead.