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City on a Hill
7.7
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TV Show
Set in Boston in the early 90s when the city was rife with violent criminals emboldened by local law...
Matthew Krueger (10051 KP) rated Oliver & Company (1988) in Movies
Mar 12, 2020
Cats and Dogs
This is a intesting fact that i didnt realze until now, that James Mangold wrote the screenplay for this movie.
The plot: In this animated update of the classic "Oliver Twist" tale, Oliver (Joey Lawrence) is an orphaned kitten taken in by a gang of thieving dogs, led by cavalier canine Dodger (Billy Joel) and owned by down-and-out pickpocket Fagin (Dom DeLuise). While pulling a job in the streets of New York City, Oliver winds up being adopted by a rich girl, Jenny (Natalie Gregory), and landing on easy street. But through a series of events, a loan shark threatens the peaceful new arrangement.
This is one of the weirdest cast ever. You have Joey Lawerence, Billy Joel, Cheech Marin and Bette Midler. Such a weird cast.
Other than that, its a good movie.
The plot: In this animated update of the classic "Oliver Twist" tale, Oliver (Joey Lawrence) is an orphaned kitten taken in by a gang of thieving dogs, led by cavalier canine Dodger (Billy Joel) and owned by down-and-out pickpocket Fagin (Dom DeLuise). While pulling a job in the streets of New York City, Oliver winds up being adopted by a rich girl, Jenny (Natalie Gregory), and landing on easy street. But through a series of events, a loan shark threatens the peaceful new arrangement.
This is one of the weirdest cast ever. You have Joey Lawerence, Billy Joel, Cheech Marin and Bette Midler. Such a weird cast.
Other than that, its a good movie.
LoganCrews (2861 KP) rated Identity (2003) in Movies
Sep 22, 2020 (Updated Nov 26, 2020)
"๐ ๐๐ข๐ฏ๐ฒ๐ถ๐ฆ๐ต ๐ฑ๐ฐ๐ต ๐ฑ๐ช๐ฆ?! ๐ ๐๐ข๐ฏ๐ฒ๐ถ๐ฆ๐ต ๐ฑ๐ฐ๐ต ๐ฑ๐ช๐ฆ!"
*or*
"๐๐ช๐ด๐ต๐ฆ๐ฏ ๐ต๐ฐ ๐ฎ๐ฆ, ๐ฅ๐ถ๐ฅ๐ฆ, ๐'๐ฎ ๐ฉ๐ข๐ท๐ช๐ฏ๐จ ๐ข ๐ณ๐ฆ๐ข๐ญ๐ญ๐บ ๐ง๐ถ๐ค๐ฌ๐ฆ๐ฅ-๐ถ๐ฑ, ๐ธ๐ฆ๐ต, ๐ฃ๐ข๐ฅ ๐ง๐ถ๐ค๐ฌ๐ช๐ฏ๐จ ๐ฅ๐ข๐บ."
True "What the fuck is going on? Huh? What..? Who?? ... wait what the fuck is that I- um, did they just? What the hell, but...where? Why? Uh, how?" cinema. This sort of exasperatingly looney, balls-planted-firmly-to-the-wall thriller with like 60 twists is sort of played these days - but I'd imagine that in its day it was quite revelatory. This was honestly a hoot and a holler but sadly its greatness is sunk by James Mangold - for the most part - being a hack who has no clue how to dramatize, have any definable mark as a director, or make inherently compelling things at all very compelling unless the studio has a firm grip on the project. His films mostly look like flat TV movies and play like no one behind the camera has much of a clue on what they're doing beyond maybe an introductory film guide on the back of a cereal box. This one isn't all that different either, but material with *this* low of a regard for any sense of subtlety or earthly realism and with a gleeful eagerness to throw all of its cards violently onto the table any chance it gets has a pass from me - especially when it's acted by a banging troupe of crackerjack character actors and reliable leads like this one. Really, really fun and sincerely manic - Agatha Christie meets a line of coke at a gas station bathroom. Plus the uninterrupted, heaping downpour is a helluva gimmick and it works where Mangold doesn't.
*or*
"๐๐ช๐ด๐ต๐ฆ๐ฏ ๐ต๐ฐ ๐ฎ๐ฆ, ๐ฅ๐ถ๐ฅ๐ฆ, ๐'๐ฎ ๐ฉ๐ข๐ท๐ช๐ฏ๐จ ๐ข ๐ณ๐ฆ๐ข๐ญ๐ญ๐บ ๐ง๐ถ๐ค๐ฌ๐ฆ๐ฅ-๐ถ๐ฑ, ๐ธ๐ฆ๐ต, ๐ฃ๐ข๐ฅ ๐ง๐ถ๐ค๐ฌ๐ช๐ฏ๐จ ๐ฅ๐ข๐บ."
True "What the fuck is going on? Huh? What..? Who?? ... wait what the fuck is that I- um, did they just? What the hell, but...where? Why? Uh, how?" cinema. This sort of exasperatingly looney, balls-planted-firmly-to-the-wall thriller with like 60 twists is sort of played these days - but I'd imagine that in its day it was quite revelatory. This was honestly a hoot and a holler but sadly its greatness is sunk by James Mangold - for the most part - being a hack who has no clue how to dramatize, have any definable mark as a director, or make inherently compelling things at all very compelling unless the studio has a firm grip on the project. His films mostly look like flat TV movies and play like no one behind the camera has much of a clue on what they're doing beyond maybe an introductory film guide on the back of a cereal box. This one isn't all that different either, but material with *this* low of a regard for any sense of subtlety or earthly realism and with a gleeful eagerness to throw all of its cards violently onto the table any chance it gets has a pass from me - especially when it's acted by a banging troupe of crackerjack character actors and reliable leads like this one. Really, really fun and sincerely manic - Agatha Christie meets a line of coke at a gas station bathroom. Plus the uninterrupted, heaping downpour is a helluva gimmick and it works where Mangold doesn't.
BankofMarquis (1832 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 25, 2019
GREAT chemistry between Bale and Damon
Most people are attending - or staying away from - the new James Mangold film, FORD v FERRARI because it is a "race car flick". But to label it as just that is doing a disservice to this film, so if that is what is keeping you away from this movie, think again, for this film is much more than a race car film.
It is, at it's core, a film about friendship and loyalty in the face of adversity and is a very serious contender for multiple awards this Oscar season.
A long gestating film project (Director Mangold first came across this property in 2010), FORD v FERRARI tells the tale of the Ford Motor Company's attempt to unseat the Italian car company, Ferrari, as an elite race car producer by defeating it on it's own turf - the 24 hour race at LeMans.
Entrusted to make this dream a reality by Henry Ford II (Tracy Letts) is (now) legendary race car designer Carroll Shelby (Matt Damon) who turns to his reckless friend - and top race car driver - Ken Miles (Christian Bale) to help put this project over the top.
Will this duo succeed? Will Ford topple Ferrari? Can Shelby help smooth the rough waters that the temperamental Miles will, inevitably, create? What do you think?
But it is the journey - and not the destination - that is the joy of this film, for under the watchful, steady eye of veteran Director Mangold (WALK THE LINE) this film is much, much more than the cliched journey of a maverick bucking the system to, ultimately, prevail. It is a study of friendship and loyalty under intense pressure and Mangold finds the right balance between showing hardcore racing and the friendship and camaraderie of Miles and Shelby.
Mangold, of course, smartly knew that the success (or failure) of this film will rest on the chemistry between the two leads of this film - and he cast them well. Matt Damon brings his usual charm and easy-going attitude to Carroll Shelby, making him the heart and anchor of this film - we see the events unfold through his eyes - and he is a an easy stand-in for the audience during the proceedings and is someone that we are happy, and comfortable, to spend the 2 1/2 hours of this film with.
This is good, for he is strongly complimented - and challenged - by the hard intensity that Christian Bale brings to his portrayal of Ken Miles. This real-life racing car legend is driven (pun intended) to excellence, and does not suffer fools gladly. We spend a good amount of time in this film with Miles staring intently out the window of his race car and no one does smoldering, staring intensity better than Bale. This is another Oscar-worthy performance by an actor who has made a career of Oscar-worthy performances and has me asking - is he the finest actor working today? He certainly is in the conversation.
Bale and Damon play off each other very well, their chemistry seems real and we believe that these are 2 old friends working together. This is the first pairing of these two, and based on these results, I would guess that we'll be seeing these two in a film together again.
They are joined by strong supporting work by the likes of Letts, Jon Bernthal (portraying Lee Iacocca) and Caitriona Balfe (as Miles wife, Mollie). Only Josh Lucas (as the a-hole antagonist of the film) fares less well as his character is written in one note and Lucas just plays that note.
The racing scenes are well done - giving us the visceral intensity of what it must be like in the car, and in the pits, of a major race experience. But it is the friendship between Miles and Shelby that really is the engine that drives this film.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
It is, at it's core, a film about friendship and loyalty in the face of adversity and is a very serious contender for multiple awards this Oscar season.
A long gestating film project (Director Mangold first came across this property in 2010), FORD v FERRARI tells the tale of the Ford Motor Company's attempt to unseat the Italian car company, Ferrari, as an elite race car producer by defeating it on it's own turf - the 24 hour race at LeMans.
Entrusted to make this dream a reality by Henry Ford II (Tracy Letts) is (now) legendary race car designer Carroll Shelby (Matt Damon) who turns to his reckless friend - and top race car driver - Ken Miles (Christian Bale) to help put this project over the top.
Will this duo succeed? Will Ford topple Ferrari? Can Shelby help smooth the rough waters that the temperamental Miles will, inevitably, create? What do you think?
But it is the journey - and not the destination - that is the joy of this film, for under the watchful, steady eye of veteran Director Mangold (WALK THE LINE) this film is much, much more than the cliched journey of a maverick bucking the system to, ultimately, prevail. It is a study of friendship and loyalty under intense pressure and Mangold finds the right balance between showing hardcore racing and the friendship and camaraderie of Miles and Shelby.
Mangold, of course, smartly knew that the success (or failure) of this film will rest on the chemistry between the two leads of this film - and he cast them well. Matt Damon brings his usual charm and easy-going attitude to Carroll Shelby, making him the heart and anchor of this film - we see the events unfold through his eyes - and he is a an easy stand-in for the audience during the proceedings and is someone that we are happy, and comfortable, to spend the 2 1/2 hours of this film with.
This is good, for he is strongly complimented - and challenged - by the hard intensity that Christian Bale brings to his portrayal of Ken Miles. This real-life racing car legend is driven (pun intended) to excellence, and does not suffer fools gladly. We spend a good amount of time in this film with Miles staring intently out the window of his race car and no one does smoldering, staring intensity better than Bale. This is another Oscar-worthy performance by an actor who has made a career of Oscar-worthy performances and has me asking - is he the finest actor working today? He certainly is in the conversation.
Bale and Damon play off each other very well, their chemistry seems real and we believe that these are 2 old friends working together. This is the first pairing of these two, and based on these results, I would guess that we'll be seeing these two in a film together again.
They are joined by strong supporting work by the likes of Letts, Jon Bernthal (portraying Lee Iacocca) and Caitriona Balfe (as Miles wife, Mollie). Only Josh Lucas (as the a-hole antagonist of the film) fares less well as his character is written in one note and Lucas just plays that note.
The racing scenes are well done - giving us the visceral intensity of what it must be like in the car, and in the pits, of a major race experience. But it is the friendship between Miles and Shelby that really is the engine that drives this film.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Pat Healy recommended Sweet Smell of Success (1957) in Movies (curated)
BankofMarquis (1832 KP) rated Indiana jones and the dial of destiny (2023) in Movies
Jul 9, 2023
Needed A Spark
Have you ever gone to a live stage play/musical on a Friday or Saturday evening and you can just feel the crackle of excitement and energy in the air and the performers on stage seem to catch that surge of energy and their performances are turned up a notch because of it?
And then, you return to that same theater - for the same show - for a Wednesday matinee and things are just flat. Same show, same performers, same entertainment, but that โsparkโ just isnโt there?
Such is the case of INDIANA JONES AND THE DIAL OF DESTINY - the Wednesday Matinee performance of an Indiana Jones adventures.
This James Mangold (FORD v FERRARI) Directed Indiana Jones adventure hits all the right notes - chase scenes, fights on a moving train, treasure hunt/quest for an ancient artifact, Indy getting into (and out of) trouble, etcโฆbut Dial of Destiny never quite elevated itself above the norm.
80 year old Harrison Ford (and some stunt doubles and a boatload of de-aging software) is back, of course, as Indiana Jones and it is like pulling on an old, tattered sweatshirt - very comfortable and comforting. He is aided (in a cameo) by John Rhys-Daviesโ Sallah (good to see him in an Indy movie again) and by rock solid additions of Antonio Banderas (ZORRO) and good olโ Toby Jones (INFAMOUS) as colleagues and fellow adventurers as well as an above-average turn by Phoebe Waller-Bridge (TVโs FLEABAG).
These folks fight Nazis (naturally) and a bad guy played by Mads Mikkelsen (ROGUE ONE: A STAR WARS STORY) in an adventure that was โjust fineโ but โnothing specialโ, all set to a score by 90 year old John Williams(!). Oh, and donโt forget the welcome appearance of Karen Allen as Marion Ravenswood in what was one of the highlight scenes of the film.
Unfortunately, Mangold never elevates these characters, the chases, the escapes, the call backs to earlier Indiana Jones films above a pleasant warmth of memory, recalling all the good times/grand adventures that Indy has taken the audience on throughout the years. This film needed someone/some THING to help elevate it above the norm.
It needed Steven Spielberg to Direct.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
And then, you return to that same theater - for the same show - for a Wednesday matinee and things are just flat. Same show, same performers, same entertainment, but that โsparkโ just isnโt there?
Such is the case of INDIANA JONES AND THE DIAL OF DESTINY - the Wednesday Matinee performance of an Indiana Jones adventures.
This James Mangold (FORD v FERRARI) Directed Indiana Jones adventure hits all the right notes - chase scenes, fights on a moving train, treasure hunt/quest for an ancient artifact, Indy getting into (and out of) trouble, etcโฆbut Dial of Destiny never quite elevated itself above the norm.
80 year old Harrison Ford (and some stunt doubles and a boatload of de-aging software) is back, of course, as Indiana Jones and it is like pulling on an old, tattered sweatshirt - very comfortable and comforting. He is aided (in a cameo) by John Rhys-Daviesโ Sallah (good to see him in an Indy movie again) and by rock solid additions of Antonio Banderas (ZORRO) and good olโ Toby Jones (INFAMOUS) as colleagues and fellow adventurers as well as an above-average turn by Phoebe Waller-Bridge (TVโs FLEABAG).
These folks fight Nazis (naturally) and a bad guy played by Mads Mikkelsen (ROGUE ONE: A STAR WARS STORY) in an adventure that was โjust fineโ but โnothing specialโ, all set to a score by 90 year old John Williams(!). Oh, and donโt forget the welcome appearance of Karen Allen as Marion Ravenswood in what was one of the highlight scenes of the film.
Unfortunately, Mangold never elevates these characters, the chases, the escapes, the call backs to earlier Indiana Jones films above a pleasant warmth of memory, recalling all the good times/grand adventures that Indy has taken the audience on throughout the years. This film needed someone/some THING to help elevate it above the norm.
It needed Steven Spielberg to Direct.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Knight and Day (2010) in Movies
Jun 11, 2019
Youโd be forgiven for thinking that a spy film with the likes of Tom Cruise and Cameron Diaz could do no wrong, and indeed thatโs the view I had, how wrong I was. Despite a fantastic performance from Diaz, Knight & Day falls well short.
There have been numerous comedy spy capers over the years, some of which have been fantastic, like Johnny English and Get Smart for example and others which have been less than stellar; Mr. & Mrs. Smith comes to mind. Unfortunately Knight & Day fits in between the good and the bad and comes out distinctly average.
Problems blight the film from the off stemming from wobbly CGI to ridiculous stunts and lazy direction choices, it seems like director James Mangold went into this project a little half-heartedly.
Tom Cruise plays spy Roy Miller and the film follows his adventures across the globe protecting the elusive โZephyrโ battery which apparently never runs out of power. Needless to say Cameron Diaz plays the ditzy blonde who later becomes the love interest for the film. Whilst Diaz provides a fun and exciting performance, providing many of the movieโs best comedic moments, Cruise feels seriously miscast in a humorous role and he becomes tiresome to watch.
Alas, the issues donโt stop there. For an action film, itโs distinctly lacking in action and the set pieces that are there are lazily choreographed or rendered in shoddy CGI. Considering its less than modest budget (ยฃ120m), Knight & Day shouldโve been a joy to watch, instead itโs like looking at a TV programme for 109 minutes.
Meanwhile the villains in the film are simply cardboard cut-outs as the writers havenโt given enough thought to fleshing out their characters. Cruise simply points and shoots and bang, theyโre dead.
However, all of these problems couldโve been forgiven if the film had some great storytelling โ it doesnโt. What shouldโve been the best parts of the film are blacked out. The escapes, the fighting and even some of the ending are lost as Mangold decides to get around inexplicable plot events by drugging the main characters. Again, this is a lazy technique which doesnโt work.
Itโs a shame, as there are many reasons why this film shouldโve been at least a good summer action flick. In reality, Knight & Day simply becomes passable at best with some inexcusably lazy direction choices, dreadful CGI, bad casting and flimsy characters which all add up to a film which is left hanging on the merits of Cameron Diaz.
https://moviemetropolis.net/2011/09/13/knight-day-2011/
There have been numerous comedy spy capers over the years, some of which have been fantastic, like Johnny English and Get Smart for example and others which have been less than stellar; Mr. & Mrs. Smith comes to mind. Unfortunately Knight & Day fits in between the good and the bad and comes out distinctly average.
Problems blight the film from the off stemming from wobbly CGI to ridiculous stunts and lazy direction choices, it seems like director James Mangold went into this project a little half-heartedly.
Tom Cruise plays spy Roy Miller and the film follows his adventures across the globe protecting the elusive โZephyrโ battery which apparently never runs out of power. Needless to say Cameron Diaz plays the ditzy blonde who later becomes the love interest for the film. Whilst Diaz provides a fun and exciting performance, providing many of the movieโs best comedic moments, Cruise feels seriously miscast in a humorous role and he becomes tiresome to watch.
Alas, the issues donโt stop there. For an action film, itโs distinctly lacking in action and the set pieces that are there are lazily choreographed or rendered in shoddy CGI. Considering its less than modest budget (ยฃ120m), Knight & Day shouldโve been a joy to watch, instead itโs like looking at a TV programme for 109 minutes.
Meanwhile the villains in the film are simply cardboard cut-outs as the writers havenโt given enough thought to fleshing out their characters. Cruise simply points and shoots and bang, theyโre dead.
However, all of these problems couldโve been forgiven if the film had some great storytelling โ it doesnโt. What shouldโve been the best parts of the film are blacked out. The escapes, the fighting and even some of the ending are lost as Mangold decides to get around inexplicable plot events by drugging the main characters. Again, this is a lazy technique which doesnโt work.
Itโs a shame, as there are many reasons why this film shouldโve been at least a good summer action flick. In reality, Knight & Day simply becomes passable at best with some inexcusably lazy direction choices, dreadful CGI, bad casting and flimsy characters which all add up to a film which is left hanging on the merits of Cameron Diaz.
https://moviemetropolis.net/2011/09/13/knight-day-2011/
LeftSideCut (3778 KP) rated Logan (2017) in Movies
Sep 20, 2019 (Updated Sep 20, 2019)
The crown jewel in Fox's X-Men saga
Logan is easily one of the best comic book movies out there.
This is the third solo outing for Wolverine (following one garbage pile attempt, and one annoyingly average attempt), James Mangold really pulled it out of the bag for this one.
The characters are great - Hugh Jackman at the top of his game for his final performance as Logan. He's a grizzled and pain ridden man, in this bleak, mutantless future.
Patrick Stewart is also at his best here as Charles Xavier. The two of them are the beating heart of this movie.
We're introduced to Dafne Keen (playing a young X-23) who rounds out the small cast nicely.
As Logan fights a shadowy organization to keep her safe, the stakes have never been higher, and no one feels safe at any point - something that has never really been explored in the X-Men franchise.
Logan is a hard film to watch, it's bleak, its gritty, it's not particularly colourful (especially if you opt for the brilliant Noir version), and it's brutally violent in parts.
The set pieces are nasty in places, and sometimes pretty shocking, but it all aids the narrative here - the narrative that Wolverine is an ailing old man, who is struggling against all odds to do one last good deed, and protect the few people that still mean something to him.
It's an emotional and powerful film, that deserves all the praise bestowed upon it - amazing work from everyone involved .
This is the third solo outing for Wolverine (following one garbage pile attempt, and one annoyingly average attempt), James Mangold really pulled it out of the bag for this one.
The characters are great - Hugh Jackman at the top of his game for his final performance as Logan. He's a grizzled and pain ridden man, in this bleak, mutantless future.
Patrick Stewart is also at his best here as Charles Xavier. The two of them are the beating heart of this movie.
We're introduced to Dafne Keen (playing a young X-23) who rounds out the small cast nicely.
As Logan fights a shadowy organization to keep her safe, the stakes have never been higher, and no one feels safe at any point - something that has never really been explored in the X-Men franchise.
Logan is a hard film to watch, it's bleak, its gritty, it's not particularly colourful (especially if you opt for the brilliant Noir version), and it's brutally violent in parts.
The set pieces are nasty in places, and sometimes pretty shocking, but it all aids the narrative here - the narrative that Wolverine is an ailing old man, who is struggling against all odds to do one last good deed, and protect the few people that still mean something to him.
It's an emotional and powerful film, that deserves all the praise bestowed upon it - amazing work from everyone involved .
David McK (3219 KP) rated Indiana jones and the dial of destiny (2023) in Movies
Jul 9, 2023
Eels look like snakes? No they don't ...
Harrison Ford is over 80 now.
So fair play to him for returning to one of his most iconic roles, as Doctor Henry Jones Jr aka Indiana Jones, in what must surely by his swansong for that role.
And even more fair play for the film not making light of his age, but working it 'properly' into the plot (which has an absolute bonkers ending), with Jones - at one point - wondering aloud what he is even doing scaling a rock face at his age (and with mention made of the events of Temple of Doom in particular, at this point).
The whole prologue of the film - here, helmed by James Mangold instead of Spielberg - is set during the closing stages of World War II, and sees a CGI de-aged Ford battling Nazis in pursuit of a stolen relic, that leads him to the real McGuffin of the movie, the Dial of the title.
Jump forward to the late 60s, and Jones is retiring from academia when he is visited by the daughter of an old friend who wants his help in recovering said relic.
Initially hesitant - and following the breakup of his marriage to Marion, and, as we later discover, the fate of Mutt - Jones soon finds himself drawn back into the way of his old life.
For my money, this is better than Crystal Skull, with the the Dial as a McGuffin, 'suiting' Indiana Jones better than the sci-fi trappings of that earlier film, and with Phoebe Waller-Bridge a better foil than Shia LaBeouf.
Still not up there with the original trilogy, though.
So fair play to him for returning to one of his most iconic roles, as Doctor Henry Jones Jr aka Indiana Jones, in what must surely by his swansong for that role.
And even more fair play for the film not making light of his age, but working it 'properly' into the plot (which has an absolute bonkers ending), with Jones - at one point - wondering aloud what he is even doing scaling a rock face at his age (and with mention made of the events of Temple of Doom in particular, at this point).
The whole prologue of the film - here, helmed by James Mangold instead of Spielberg - is set during the closing stages of World War II, and sees a CGI de-aged Ford battling Nazis in pursuit of a stolen relic, that leads him to the real McGuffin of the movie, the Dial of the title.
Jump forward to the late 60s, and Jones is retiring from academia when he is visited by the daughter of an old friend who wants his help in recovering said relic.
Initially hesitant - and following the breakup of his marriage to Marion, and, as we later discover, the fate of Mutt - Jones soon finds himself drawn back into the way of his old life.
For my money, this is better than Crystal Skull, with the the Dial as a McGuffin, 'suiting' Indiana Jones better than the sci-fi trappings of that earlier film, and with Phoebe Waller-Bridge a better foil than Shia LaBeouf.
Still not up there with the original trilogy, though.
LeftSideCut (3778 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Sep 13, 2020
The more films I see by James Mangold, the more I like him.
Ford v Ferrari (or Le Mans '66 as it's titled in the UK) is an outstanding movie in every way.
Based on a true story, FvF follows car designer Carroll Shelby (Matt Damon) and race driver Ken Miles (Christian Bale) after they are commissioned by Ford to create a new race car capable of beating the notorious Ferrari team during the Le Mans endurance race in France.
I'm not really into racing - I'm not a big sports guy full stop - but this film balances the amount of racing action and heartfelt and frequently humourous drama perfectly.
Both Matt Damon and Christian Bale just bought everything they have to this, and straight up deserved Oscars - I would actually go as far as saying this is arguably Bales' best performance to date.
The supporting cast are fantastic as well, especially Caitriona Balfe as the wife of Ken Miles, Mollie. The chemistry between her and Bales' character is believable and sweet.
I also enjoyed Josh Lucas as smarmy Ford executive Leo Beebe, and detested his character with a passion. And of course Jon Bernthal - I'm yet to see him in anything where he is less than great.
The story is inspiring to say the least, and the screenplay is clever in the way that it focuses on the every day character like Ken Miles, has you rooting for him against the suits, people who put money and profit in front of knowledge. It's a relatable feeling.
As I mentioned, I'm not a big sports guy, so taking this into account, the racing scenes (of which there are a fair few) were nothing short of thrilling. They're really well shot, with seamless special effects, and full of tension. In fact, every inch of Ford v Ferrari feels like it's had so much love, attention, and detail poured into it. It's an all round great experience.
I haven't a single bad word to say about Ford v Ferrari, it's spectacular, full of soul, and easily one of the best films of 2019.
Ford v Ferrari (or Le Mans '66 as it's titled in the UK) is an outstanding movie in every way.
Based on a true story, FvF follows car designer Carroll Shelby (Matt Damon) and race driver Ken Miles (Christian Bale) after they are commissioned by Ford to create a new race car capable of beating the notorious Ferrari team during the Le Mans endurance race in France.
I'm not really into racing - I'm not a big sports guy full stop - but this film balances the amount of racing action and heartfelt and frequently humourous drama perfectly.
Both Matt Damon and Christian Bale just bought everything they have to this, and straight up deserved Oscars - I would actually go as far as saying this is arguably Bales' best performance to date.
The supporting cast are fantastic as well, especially Caitriona Balfe as the wife of Ken Miles, Mollie. The chemistry between her and Bales' character is believable and sweet.
I also enjoyed Josh Lucas as smarmy Ford executive Leo Beebe, and detested his character with a passion. And of course Jon Bernthal - I'm yet to see him in anything where he is less than great.
The story is inspiring to say the least, and the screenplay is clever in the way that it focuses on the every day character like Ken Miles, has you rooting for him against the suits, people who put money and profit in front of knowledge. It's a relatable feeling.
As I mentioned, I'm not a big sports guy, so taking this into account, the racing scenes (of which there are a fair few) were nothing short of thrilling. They're really well shot, with seamless special effects, and full of tension. In fact, every inch of Ford v Ferrari feels like it's had so much love, attention, and detail poured into it. It's an all round great experience.
I haven't a single bad word to say about Ford v Ferrari, it's spectacular, full of soul, and easily one of the best films of 2019.