Ferrari (2023)

A new release by Michael Mann has become something to cherish; not simply because he's one of the finest film makers around, but because his productions have become more and more sporadic. The last time we were treated to something by him was nearly a decade ago; 2015's Blackhat which was received rather dismissively by many critics, unfairly so.

Ferrari has been something of a passion project for Mann, first mooted in 2000 but he eventually turned it down when only being offered a $40 million budget, and it's since been knocked back in 2015 and 2017 with stars such as Christian Bale and Hugh Jackman coming and going.

Nearly a quarter of a century after he first tried to get it off the ground, we finally have Mann's completed vision, brought to us by Sky Originals of all people. Adam Driver stars in the central role as Enzo Ferrari, the founder of the Italian car giant and Mann's film focuses on the trials and tribulations both privately and professionally of Enzo in the wake of his son Dino's death.

Enzo is struggling to juggle a failing marriage with his wife Laura and a relationship with his mistress Lina, whilst also dealing with his company's impending bankruptcy. It seems the only way he can save Ferrari is by winning the 1957 Mille Miglia, a race totalling nearly one thousand miles and made up entirely of public roads around Italy.

The film's first half strongly focuses on its main players in Enzo, Laura and Lina which although interesting, sidelines the players on the peripheral to the point that when they become more central in the second half, the emotional heft is slightly diminished.

Of the central three, Shailene Woodley as Lina sticks out with an accent that although not without good intentions, falters slightly now and again. Despite the fact that some have been particularly sniffy about Adam Driver, he's on very fine form as Enzo, much more convincing as a famous Italian than he was in Ridley Scott's House of Gucci (2021).

The film is pulled from under all of them though, by Penelope Cruz, who is absolutely sensational as Enzo's wife Laura. Laura owns 50% of Ferrari and her disintegrating marriage offers many opportunities to prove a huge thorn in Enzo's side. She hasn't forgiven him for their son's death, despite the fact that Dino fell ill and Enzo seemingly did all he could; but there's also more than understandable resentment at Enzo's extra marital activities.

The second half of Ferrari is where the film really sizzles. The bulk of it is taken up by the Mille Miglia, and it's spectacular; Mann can shoot in digital like no-one else and this provides the race with some truly astonishing moments. It's interspersed with the relationships going on off the track, and it's truly compelling, even if the previous lack of focus on the driver's backstories impacts slightly.

It's fantastic to have Mann back on our cinema screens, and if he's not quite firing on all cylinders to the scale of Heat (1995), The Insider (1999) or Collateral (2004), Ferrari sits nicely alongside his more recent work in Public Enemies (2009) or Blackhat (2015). I'd urge seeking Ferrari out on the big screen if you can; the second half of the film is worth the admission price alone although as it's a new Michael Mann film, I'd have to assume you'd be doing that anyway. 7.9/10