Ford v Ferrari
In the mid-1960s, Ford Motors was in a slump. Bad enough that sales are falling and the Ford legacy is in question. Worse still is fellow car magnate Enzo Ferrari’s insult. Henry Ford II (Tracy Letts) responds by hitting Ferrari where it hurts: his legacy. Ford Motors will challenge him in Le Mans, the grueling 24-hour car race that Ferrari has dominated for the better part of a decade.
Ford can’t exactly enter a Falcon in the race. Showing up Ferrari will take a new design with a new mind behind it. The obvious choice is Carroll Shelby (Matt Damon), one of the few American racecar drivers to win Le Mans and one of the top designers in the country. His company, Shelby American, builds lightning-fast cars but is cash poor, so Shelby jumps at Ford’s offer of buckets of cash.
Shelby insists on bringing his team, including driver Ken Miles (Christian Bale). Notoriously volatile Miles is one of the greatest natural racing talents in the world, but Ford balks at putting him behind the wheel.
Can Shelby convince a boardroom of non-racers that you can’t win a race by committee?
A crowd-pleasing story about fast cars, friendship and the epic stupidity of corporations, Ford v Ferrari might be the surprise hit movie of the year. Director James Mangold (Logan) infuses humor and poignancy into the retelling of the genesis of one the greatest partnerships in cars. This movie lives up to the legend of the Shelby Mustang.
Mangold has a knack for mixing action and drama. The race sequences are pulse-pounding, showing the finesse drivers need to win and the dangers they must avoid. The thrilling race sequences are paired with deep character work. By giving the movie heart, Mangold elevates the action, making racing a vehicle for a story about two friends.
Bale and Damon beautifully realize the relationship between Miles and Shelby. Damon’s Carroll Shelby is the slick-talking, swaggering Texan who loves speed and risk. A born car salesman, he talks his way through corporate red tape and around temperamental staff. A man who cares deeply about his people but hides his feelings behind revs and test laps, he’s the perfect leader for the ragtag team. Damon is at his best here, full of charm and sly planning.
As Shelby’s favored driver, Bale’s Ken Miles is a study of manic joy. He’s aggressive on the track and with officials, but he’s also a devoted father. Miles despises Ford and its concern with image, but he’s drawn in by the chance to work with Carroll on something magnificent. His love of cars and refining the drive bonds him with Shelby, even when they’re angriest at each other. Bale has made a name for himself doing intense character work in extremely serious movies; now Ford v Ferrari lets him have a little fun. It’s a joy to watch him be playful.
The movie breezes by, even though it’s over two hours. This story about how great men can make history in spite of the corporations that fund them is a winner even if you don’t know the difference between a Ford and a Ferrari.
Great Historic Action • PG-13 • 152 mins.
~~~ New this Week ~~~
Charlie’s Angels
The knowledge that her latest project could be weaponized turns systems engineer Elena Houghlin (Naomi Scott) into a whistleblower. She’s saved from deadly retaliation by female spies of the Townsend Agency.
The Townsend Agency employs exceptional women, called angels, as freedom fighters to protect and serve the global community. Elena is invited to join the group. But is she angel material?
The latest adaptation of the Charlie’s Angels franchise is written and directed by Elizabeth Banks, who tries for a feminist twist, but it still features sexy girls in skimpy outfits. Tone and plot are light, spy shenanigans campy.
Prospects: Flickering • PG-13 • 118 mins.
The Good Liar
Conman Roy Courtnay (Ian McKellan) finds the perfect mark in naïve, widow Betty McLeish (Helen Mirren).
But Betty isn’t alone in the world. Suspicious of the obsequious Roy, her grandson digs into his past.
It’s always enjoyable to watch Mirren and McKellen, and they play off each other well. But Mirren is leashed for too long, while McKellen is free to swan about.
Their performances don’t make up for a disappointing script. You can see twists coming a mile away. Focus shifts from tense thriller to clever cat-and-mouse game. The plot veers wildly into the absurd late in the film. The result is neither thrilling nor clever.
Prospects: Dim • R • 109 mins.
The Irishman
Before it premieres on Netflix, director Martin Scorsese’s epic film The Irishman will have a limited theater run. Why? Because to qualify for Oscars, a movie must run in a theater for at least a week.
This film will be big in the awards conversation. It’s already touted as one of Scorsese’s most important works and one of the top films of the decade.
The film follows real-life Irish WWII veteran Frank Sheeran (Robert De Niro), who becomes embroiled in the Bufalino Crime Family. We see his hits and his role in the disappearance of Jimmy Hoffa (Al Pacino). Later in life, he reevaluates his choices.
You should see the movie, and there’s a case for seeing it in theaters. Scorsese is a filmmaker who does best on the big screen. His long tracking shots and beautifully composed frames should be enjoyed on a grand scale. At three and a half hours, it is a commitment. Choose a theater with comfortable seats.
Prospects: Bright • R • 209 mins.