Ferrari turns out to be a tedious film instead of the exciting and captivating portrayal of a multifaceted character it should have been. While the performances may be commendable and there are occasional impactful moments, the overall impression of the film is lackluster. Considering the potential of such an intriguing subject matter combined with a talented filmmaker and cast, one would expect a much more impressive outcome. Despite the supposed exhilaration of motor racing, I must admit that I found the film on Flixtor overwhelmingly uninteresting by the time it concluded.

It’s surprising to see that the overall aesthetic of the film lacks any vitality, especially considering the reputation of director Michael Mann. Instead of injecting energy and a clear sense of direction, Mann takes a more documentary-style approach to directing, which unfortunately drains the film of its momentum right from the beginning. The scenes unfold in a predictable manner, lacking any distinctive style or flair. While the racing sequences are impressive, they are too infrequent to rescue the movie from its sluggish pace. Additionally, the non-racing scenes are framed in a conventional shot/reverse shot format, failing to create any impact during the dramatic moments. Although there is a moment in the third act that finally introduces some stakes, it comes too late in the film to salvage the overall experience.

The script in this film is disappointingly ordinary and it becomes evident in how it presents its main character. While Adam Driver delivers a solid performance as Enzo Ferrari, I wouldn’t consider it one of his finest. However, I couldn’t help but feel that the portrayal of the character lacked depth. From the beginning, it is established that Ferrari keeps a barrier between himself and others, but as a viewer, I felt distanced from his character. There weren’t enough moments where his vulnerability was revealed, leaving me with a perception of him as a wealthy egotist with uninteresting motivations.

The film introduces a love triangle involving Penelope Cruz and Shailene Woodley’s characters, which initially seems like it could be the main focus of the story. However, as the plot progresses, it becomes overshadowed by the central race, taking up more screen time. While Driver and Cruz share good chemistry, the director, Mann, fails to delve deep into their relationship, leaving it somewhat underdeveloped. Moreover, the exposition surrounding this three-way dynamic is presented in the wrong order, making it feel disjointed. This results in a frustrating experience as the audience is left waiting for the characters to discover information they already know, ultimately hindering the pacing and diminishing the impact of these revelations.

Michael Mann’s long-standing passion project, Ferrari, came as a surprise to me because the final outcome lacks any indication of a compelling vision for the story. The script and technical aspects fall short, leaving a rather unimpressive impression. Despite a few impactful moments and impressive race sequences, the overall result of Ferrari is a complete bore.

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