Sir Jony Ive, the man who famously stripped the physical keyboard away from the mobile with his iconic iPhone design, has taken a very different approach with his latest project for Ferrari..
As Ferrari unveils the “Luce”, the famous Italian brand’s first fully electric sports car, the spotlight has fallen on an interior designed by Ive and his creative collective, LoveFrom.
While the rest of the automotive industry is currently engaged in a “screen war,” competing to see who can bolt the largest and shiniest tablet to a dashboard, Ive has taken a radical detour back to physical buttons.
The cabin of the Luce is a study in what Ive calls “clarity and simplicity.” Eschewing the fingerprint-smudged glass slabs that define modern EVs, the Luce features a meticulously organized environment of physical toggles, machined aluminium switches and Gorilla Glass dials.
It is a design that feels both retro and deeply human, drawing inspiration from the aviation-style gauges and three-spoke Nardi steering wheels of 1950s Ferraris. However, it is the philosophy behind these controls, rather than just their aesthetic, that marks Ive’s most significant departure from contemporary car design.
Even the gear selector in the Ferrari Luce has had a Jonny Ive makeover
Touch screens wrong for car interiors, claims Ive
Ive’s primary critique of the modern car interior is one of safety and soul. In a startling admission for the father of the modern touchscreen, he has declared that touch is the “wrong technology” for a car’s primary interface.
It’s an argument grounded, he claims, in the reality of driving because a touchscreen requires a driver to look away from the road to confirm they have hit a virtual button. In a Ferrari, where performance is measured in split seconds, that distraction is more than an annoyance – it is a design flaw.
To solve this, Ive has focused on “eyes-busy, hands-on” interaction. Every switch in the Luce has been engineered to feel different to the touch, allowing a driver to adjust the climate, suspension, or drive modes by muscle memory alone.
The centerpiece of this experience is a physical key made of Gorilla Glass with an E Ink display. When docked into the centre console, it triggers a “startup ceremony” where light flows from the key across the dashboard’s digital-analogue hybrid dials.
Even the gear selector has been reimagined as a technical work of art, using laser-drilled holes half the width of a human hair to back-light the graphics.
By prioritizing these mechanical interactions, Ive is attempting to restore a sense of visceral connection that many fear will be lost in the transition to electric power. And while the Luce features state-of-the-art Samsung OLED displays, they are often tucked behind physical needles or layered with lenses to create a “parallax effect” that mimics the depth of an old-school chronograph.
It is a sophisticated rejection of the “easy and lazy” design trend of massive screens, proving that, for Jony Ive, the future of the electric car isn’t just about how it moves, but how it feels beneath your fingertips.
Ferrari will begin its cautious shift to electric vehicles in 2026 with its first battery-powered four-seat coupe, but shares plummeted Thursday over a long-term profit outlook that fell short.
Shares of Ferrari fell by as much as 16 percent Thursday on the Milan stock market, as the luxury carmaker spelled out profit and revenue expectations for 2030 that disappointed investors.
The luxury brand with the prancing horse logo presented details of its first electric sports car, to be released next year, during a presentation to investors and media at its Maranello factory, even while revealing it would scale back its electrification plans.
The four-seat coupe, “Elettrica,” will offer over 1,000 horsepower and have a range of 530 kilometres (329 miles).
Ferrari — which sold fewer than 14,000 cars last year — “must manage scarcity” to succeed, Ferrari CEO Benedetto Vigna told investors.
With rising prices, many different models, and a waiting list ideally ranging from 20 to 24 months, “we have to be sure that there aren’t too many cars on the road,” he said.
Although Ferrari slightly boosted its 2025 guidance for revenue, margins and adjusted earnings per share, investors were disappointed by a longer-term outlook.
Ferrari predicted revenue to grow by five percent per year to reach 9.0 billion euros in 2030, with an adjusted operating profit of 2.75 billion euros.
RBC Capital Markets analyst Tom Narayan wrote in a note that Ferrari’s forecasts were below analysts’ expectations, while investors “are likely to interpret a downshift in EBIT growth (earnings before interest and taxes) from prior history”.
Caution In Slowdown
No price for the Elettrica was disclosed, but analysts say Ferrari will need to carefully position it in relation to the nearly 500,000 euros ($580,500) base price of its Purosangue SUV.
Ferrari already sells nearly half of its cars in hybrid versions, but until now has not made the shift to electric, which comes several years after Porsche, Lamborghini, Lotus, and the very fast Rimac.
Reflecting the current slowdown in the automotive industry’s transition to electric, Ferrari’s shift will be even more cautious than had been expected.
Electric models will account for only 20 percent of Ferrari’s offering in 2030, compared with the 40 percent announced previously, with combustion engine models continuing to dominate.
Amplified Sound
Ferrari’s management unveiled the car’s architecture on Wednesday evening, with a very low driving position in a recycled aluminium chassis with a large motor on each of the four wheels.
As expected, the Elettrica promises to be fast, going from zero to 100 kilometres per hour in 2.5 seconds with a maximum speed of 310 km/h.
The classic Ferrari shift paddles on the steering wheel will be used on the Elettrica to opt between a smooth or sporty driving style, modulating the power of the motors and the suspension control.
In a homage to large gasoline engines, the Elettrica offers a simulated downshift, while the purr of the traditional engines will be replaced with an amplified sound from the electric motor to signal information about the feel of the road to the driver, said Gianmaria Fulgenzi, Ferrari’s product director.
“It’s like choosing between a sailboat and a motorboat: both are exciting but in different ways,” he said.
The brand has taken on the costly development of most of the technical innovations, particularly the integrated battery pack — one of the only components it will not manufacture itself — “because keeping that expert knowledge in-house means we can stay competitive”, he said.
The Elettrica is equipped with a huge 122 kWh battery, bringing its weight to 2.3 tonnes — the heaviest Ferrari ever built.
(Except for the headline, this story has not been edited by NDTV staff and is published from a syndicated feed.)
A view of the production line inside the Ferrari factory in Maranello, Italy, on Oct. 9, 2025. TAIMAZ SZIRNIKS/AFP via Getty Image
Yesterday (Oct. 8) in Maranello, Italy, luxury automaker Ferrari lifted the hood on its first all-electric vehicle, the Elettrica, after five years in development—while simultaneously halving its electric ambitions. The new car marks Ferrari’s long-awaited entry into the EV market, but also underscores the company’s reluctance to fully embrace an electric future at a time when the EV boom has lost some of its early luster.
The Elettrica, in development since 2020, is expected to officially launch in October 2026 with a price tag estimated to exceed $540,000. Ferrari revealed only the powertrain, confirming that the Elettrica will feature a quad-motor setup—one motor per wheel—powered by a 122 kWh battery pack. Built on an 800-volt architecture for faster charging, the vehicle will reportedly reach a top speed of 193 mph, deliver up to 1,000 horsepower, and achieve about 330 miles of range under the European WLTP cycle.
The new all-electric supercar will be built on a platform developed in-house and produced at Ferrari’s “e-building” in Maranello, where the company is headquartered. The facility will manufacture electric motors, battery packs and inverters for Ferrari’s future EVs.
Though those plans are now less certain. Soon after the Elettrica’s debut, Ferrari released quarterly earnings with disappointing guidance that sent its stock tumbling, marking what could become its worst trading day since listing on the Milan stock exchange in 2016.
Despite raising its long-term revenue target to around €9 billion ($10.4 billion) by 2030, Ferrari said only 20 percent of its lineup will be fully electric by then—down from its previous goal of 40 percent. Hybrids are expected to make up another 40 percent, with the remaining 40 percent continuing to use internal combustion engines. The company added that it does not plan to release a second EV until at least 2028, citing weak demand for high-performance electric cars.
While Ferrari framed the scaled-back targets as a response to customer preferences, broader trends tell a different story. Global EV demand has cooled, even as 2025 is shaping up to be one of the strongest years for U.S. EV sales, boosted in part by now-expired federal tax incentives.
Ferrari’s late entry into the EV race isn’t necessarily a problem, according to Stephanie Brinley, associate director of AutoIntelligence at S&P Global. “The transition to an EV-dominant market is a long-term process,” Brinley told Observer via email. “It is about being able to come to market with a compelling product at the right time. Finding that sweet spot has always been a product challenge. The twists and turns of electrification and EV adoption have only complicated the process of finding that position.”
For Ferrari, she added, the key is staying true to the brand’s DNA. “Ferrari buyers will want a Ferrari first, an EV second,” Brinley said. “For Ferrari buyers, it’s not primary transportation. If they are interested in EVs, they can or will also have EVs in the stable. That can work for or against Ferrari’s EV ambitions.”
Ferrari isn’t alone in pulling back. Other luxury automakers—including Volvo, Mercedes, Porsche and Bentley—have also slowed their electrification plans amid softer demand, tariffs, and global uncertainty. All-electric brands like Tesla, which just announced cheaper Model Y and Model 3 versions, and Lucid have cut prices to move inventory. While Ferrari buyers aren’t motivated by tax credits or savings, they do value exclusivity—and the brand’s identity has long been tied to the sound and spirit of its internal combustion engines.
As Brinley noted, “Consumer demand has not kept up with the demands of regulatory change, but it has not vanished and will continue to grow. Timing entry and ensuring profitability are difficult.”
The Elettrica’s success will likely depend less on its range or price than on whether it can deliver the emotional rush Ferrari owners expect. If the car can replicate the visceral thrill of a Ferrari through software, vibration and sheer performance, it could redefine what it means to be a supercar maker. If not, the company risks alienating its wealthy loyalists—customers who prize Ferrari’s sound, speed and unmistakable signal of status as much as its engineering prowess.
Ferrari has unveiled the technology which will power its hotly-anticipated first electric car, the Elettrica, as the 78-year-old luxury Italian sportscar maker looks to add battery power to its hybrid and petrol-engine models.
In a closely-guarded event at its Maranello headquarters, a Ferrari-red cover was pulled back on a stage to reveal the Elettrica’s production-ready chassis: a car base, with battery pack and electric motor, though with no wheels or outer shell.
The completed car, which Ferrari is expected to present next year at a global premiere, will have a top speed of 310 kilometres per hour (193 miles) – slightly slower than most of its engined models and a range of at least 530 km.
The four-door, four-plus seat car will have a specially-designed sound system to amplify actual vibrations from its powertrain to create a distinctly electric Ferrari sound, rather than just faking engine noise.
An Inc.com Featured Presentation
The unveiling of the inner workings of Ferrari’s maiden electric car marks a milestone for the auto industry that is grappling more widely with a shift from the internal combustion engine to the electric battery.
“Today… is an historic day for us. We all have goosebumps,” said CEO Benedetto Vigna, who said the electric car would complement, not replace, the company’s existing models. “The EV is an addition, not a transition.”
Ferrari needs an EV for the next generation of rich kids
Like other high-performance brands, Ferrari has been cautious about electrification. Reuters reported in June that it had delayed a second EV model until 2028 because of a lack of demand. Rival Lamborghini, part of Volkswagen, has delayed its first EV until 2029, saying the market is not ready.
Luxury automaker Porsche forged ahead with EVs, but has been caught between a crowded Chinese market and Western buyers who still want Porsche’s loud combustion engines. Delays to its EV roll-out have hit parent Volkswagen.
Ferrari is aiming to have 20 percent of its model line-up fully-electric by 2030, its long-term business plan unveiled on Thursday shows. That is below the 40 percent target it set for 2030 in its business plan three years ago.
Ferrari is under less pressure than mainstream automakers to go electric ahead of a 2035 European Union ban on new fossil-fuel car sales, as it can sell combustion-engine models running on higher-cost synthetic e-fuels its customers can afford.
But wealthy younger buyers are keen to go electric.
“If you think about the next generation of kids, to remain relevant, maybe Ferrari needs an electric line-up that represents the pinnacle of its type,” former Aston Martin CEO Andy Palmer told Reuters.
Ferrari needs “an EV that is more than an EV”
The Ferrari Elettrica, expected to cost at least 500,000 euros ($580,400), Reuters reported last year, comes almost two decades after the first hybrid technology appeared in its Formula One cars in 2009. Ferrari began selling hybrid models in 2019.
The Elettrica’s chassis and body will be made from 75 percent recycled aluminium and the battery is fully integrated into the floor to help lower its centre of gravity, which will help with performance and speed. It will have a fast-charging battery.
Industry experts said the challenge for brands like Ferrari was how to create something more than just a high-spec version of a premium EV, which already has instant acceleration.
The upcoming Tesla Roadster, for example, is advertised with a top speed of more than 250 mph.
Ferrari’s cars, which start with a price tag of more than 200,000 euros, need to offer more.
“If Ferrari is going to be successful, it has to bring to the market an EV that is more than an EV,” Palmer said. “(It) is not offering you acceleration, it’s not offering you top speeds because you can buy that in a 30,000 euro BYD.”
Phil Dunne, a managing director at consultancy Grant Thornton Stax, said demand was yet to catch up, but Ferrari’s strength would be offering its large base of wealthy consumers the same experience and feeling its combustion-engine models do today.
“If their customers want to be environmentally friendly today, they can have a Tesla, they can have some other EV,” Dunne said. “Teslas can give you an amazing feeling of power, but it doesn’t feel anything like a Ferrari.”
($1 = 0.8615 euros)
Reporting by Giulio Piovaccari in Maranello; Editing by Nick Carey, Adam Jourdan and Jane Merriman.
Palermo says the sound can be reduced when cruising, then amplified during more dynamic driving. Allegedly, it’s even possible to sense when a rear wheel breaks traction, since the rise in revs of that motor would be detected by the accelerometer. He also says how latency—the time between a change in motor revs and the sound reaching the driver’s ear—is “below the threshold of human perception… instantaneous.”
The sound will also adjust depending on how the driver engages with the steering wheel paddles for regenerative braking and the Torque Shift Engagement system. But, for now, Ferrari refuses to comment on exactly how motor sound is broadcast in the cabin—be it through the car’s sound system, or some other means—and how external sound will be created. Underscoring Ferrari’s commitment to using an authentic drivetrain sound, Palermo adds: “It’s an instrument, not a ringtone.”
Individually Controlled Wheels
Remarkably, for a company whose cars are synonymous with theatrical histrionics, Ferrari says during normal driving “silence is preferred to maximize acoustic comfort.” To that end, it has worked hard to illuminate noise, vibration, and harshness (known in the industry as NVH), since there’s no longer a loud engine to drown it all out.
The Elettrica’s suspension is an evolution of the active system used by Ferrari’s Purosangue SUV and F80 hypercar, which employs 48-volt motors to apply torque to each shock absorber, actively working to eliminate pitch and roll.
As with other electric cars, a heavy battery pack in the floor helps to lower the center of gravity; in this case, by 80 mm compared to an equivalent non-EV. Although it can’t defy physics, Ferrari claims its suspension trickery and quad-motor setup makes the Elettrica handle as if it were almost 1,000 lbs lighter.
The result is a car where each wheel has its own individually controlled power, braking, suspension, and steering—with the rear wheels even able to be steered independently of each other, by up to 2.15 degrees in either direction. Each of the four motors can also operate their own regenerative braking, with up to 0.68G of deceleration possible with the most aggressive level of regen. That’s more than half the braking force experienced during an emergency stop in a regular car.
Sound is a complicated topic in cars. Some cars are good because they’re very loud. Some cars are good because they’re very quiet. A select few cars can be counted in both categories. Really, only Hyundai’s has managed to check both boxes, but if Ferrari’s promises about its first EV are to be believed, we may soon have another entrant.
At an event at the company’s headquarters in Maranello, Italy, Ferrari unveiled the first proper details about its first EV, the Elettrica, which is set to fully debut next year. We’re missing a few key details (such as what it looks like), but after spending a day talking to the various engineers behind this machine, I can finally reveal what makes this car move and how it might sound, too.
Power is a key metric for any Ferrari, and the Elettrica has plenty of that. Four electric motors, one per wheel, combine to generate a figure somewhere over 1,000 horsepower. That would put it close to the power of the company’s new F80 supercar, but in an era of , the Elettrica’s output isn’t exactly stunning.
This is something even Ferrari’s chief product development officer, Gianmaria Fulgenzi, admitted: “It’s very easy and simple to create power in an electric engine. It’s not difficult.” Cornering, he said, is what it’s really all about. He called current performance EVs “elephants,” capable of going quickly in a straight line but failing miserably at being compelling machines to drive.
That’s partly why the Elettrica has four motors. That way, the car’s traction and stability management systems can modulate power to maximize grip at each tire individually, rather than relying on one or two motors with differentials to try to manage wheelspin.But it goes deeper than that. The Elettrica can also steer each rear wheel independently, more or less on the inside or outside of the turn to help manage (or perhaps even induce) oversteer.
The front motors and inverter on the Ferrari Elettrica.
(Ferrari)
Finally, the Elettrica will have active suspension, a novel type that debuted on the Purosangue SUV and is also used on the F80 supercar. Ferrari’s dampers replace traditional valves and oil with an electric motor that provides the resistance. This means, again, the damping and ride height of the car can be adjusted independently at each corner, nearly instantly.
All that, Ferrari CEO Benedetto Vigna said, will result in an EV that drives like none other on the road: “We want to show that we are able to harness any technology in a unique way.” Making a compelling EV, a type of car that many decry as too samey, would be a bold way to do it.
One key factor to this is a unique sound. Ferrari engineers knew that they needed to come up with some sort of acoustic accompaniment for the Elettrica, but they also knew it had to be authentic. “We didn’t create a fake sound, like a starship or something like that,” Fulgenzi said. “We wanted to have exactly the sound of the electric engine.”
Ferrari came up with a solution similar to the one Porsche used for the Taycan, but it executed it in a novel way. In the Taycan, Porsche sampled and remixed the sounds of the car’s electrical components. For the Elettrica, Ferrari actually installs an accelerometer inside the casing of the rear electric motors. That sensor picks up the harmonic resonance and runs it through a digital amplifier to create a sound that isn’t a sample — it’s actually coming directly from those motors.
Fulgenzi likens it to an amp on an electric guitar, picking up the near-inaudible vibration of the strings and turning it into (potentially ear-splitting) sound. That’s perhaps a bit aspirational, but the proof of course will be in the listening, something that Ferrari sadly hasn’t let me (or anyone else) do just yet.
The rear motor and inverter for the Ferrari Elettrica.
(Ferrari)
They’re also not showing anyone what the thing looks like, but it seems safe to expect that this machine will bear a shape and design unlike any Ferrari that’s come before. That’s because Ferrari is, for the first time, working with design house LoveFrom, better known as the in 2019 and then .
LoveFrom has worked on a fair few projects since its inception, but this will be the company’s first car. Given that, we have absolutely nothing to go on when it comes to visual style. But if I had to guess, I’d say something with a minimalist vibe is on the menu based on Ive’s previous work. (And also his own car collection, which features a lot of classic bits of iconic British motoring.)
What we do know is that the Elettrica will have four doors and four seats. No, then, this won’t be a proper sports car, instead sitting somewhere between grand tourer and SUV. It’ll be something designed with a bit of practicality and comfort, able to waft calmly and quietly if you like. Or, with the twist of a few knobs on the steering wheel, it’s able to tighten up and get loud when you’re feeling more rowdy.
With somewhere north of 330 miles of range, it should make for a decent tourer, too. That comes from a 122 kWh (gross) battery pack that’s split up into 15 modules, each containing 14 NMC pouch cells. The cells are initially sourced from SK On, but Ferrari made it clear they’re not tied to that supplier.
Indeed, the company hopes to evolve the battery pack design and chemistry over the years, keeping some version of it available for decades to come. This is, after all, a Ferrari, a machine that ostensibly will just keep getting more valuable as it ages. That, though, is a challenge currently stymying other makers of premium EVs.
Can Ferrari make a truly desirable, truly premium EV? Having Jony Ive’s name attached certainly doesn’t hurt. We’ll all have to wait until early next year to see how it looks and how it sounds. I personally won’t get too excited about this car until then, but I am very glad that it even exists. Back in 2011, Luca Di Montezemelo, then-CEO of Ferrari, told me that Ferrari would . I was skeptical of his statement back then, and 14 years later, I’m glad to see the company finally coming around.
Civitavecchia, Italy — Along Italy’s Mediterranean coast on Thursday, driver Fabio Barone raced across the flight deck of a navy ship while chasing a world record: the fastest car on a boat.
Last year, Barone set the Italian Timekeepers Federation’s record on another aircraft carrier in southern Italy, hitting 94.4 mph. In Civitavecchia, on the coast near Rome, he aimed to reach at least 99.4 mph and then hit the brakes in time to avoid launching off the deck’s so-called “ski jump” and smashing into the cruise ship stationed just fore.
Race engineer Alessandro Tedino told The Associated Press that he wasn’t sure the new record was attainable. The ship had been out at sea overnight, and the crew emerged in the early morning to find its flight deck wet. They immediately set to drying it, with the job finished by late summer sunbeams.
Italian driver Fabio Barone attempts to break his own speed record on a ship, at the wheel of a Ferrari SF90, on the flight deck of the Italian Navy aircraft carrier Nave Trieste, docked at the port of Civitavecchia, Sept. 18, 2025.
Gregorio Borgia/AP
“If it remained wet, then of course it’s impossible to have the maximum speed and best brakes. It can be very, very dangerous,” he said.
As the “Top Gun” theme song rang out from speakers, the carrier’s portside elevator lifted Barone’s team to the deck where journalists, naval officers and VIPs waited. A group of children with Down syndrome, chosen to serve as honorary “mechanics for the day,” removed the red, satiny cover to reveal Barone’s steed: a red-and-black Ferrari SF90.
Barone eased himself into the supercar, then drove back and forth along the length of the deck several times to warm up its V-8 turbo engine. It roared louder with each pass as he pushed its 1,085 horses harder and harder. Then he placed himself at the far end of the 774-foot flight deck and awaited the all-clear.
“Here he goes! Here he goes!” the announcer called as Barone left his mark and zipped past the crowd. Mere seconds later he came to a safe stop, and the crowd applauded haltingly — impressed by the speedy spectacle, but unsure if he’d beaten the record. The official timekeeper approached the car and inspected the gauges within.
“The detected velocity: 164 kilometers per hour (101.9 mph). I declare it the new speed record on a ship!” he said, prompting hearty applause from the sidelines.
Italian driver Fabio Barone attempts to break his own speed record on a ship, at the wheel of a Ferrari SF90, on the flight deck of the Italian Navy aircraft carrier Nave Trieste, docked at the port of Civitavecchia, Sept. 18, 2025.
Gregorio Borgia/AP
Barone lifted his arms to the sky, then hugged his crew, helmet still in place. Reporters swarmed.
“The main thing you focus on is concentration and then you realize that you are breaking the record only when you are halfway,” Barone said. “I have two hands, two feet and I use them at the same time like a pianist.”
Italian driver Fabio Barone talks to journalists after breaking his own speed record on a ship, at the wheel of a Ferrari SF90, on the flight deck of the Italian Navy aircraft carrier Nave Trieste, docked at the port of Civitavecchia, Sept. 18, 2025.
Gregorio Borgia/AP
Tedino said that Barone’s team will now submit their certified result to Guinness World Records, which told the AP in an email Thursday afternoon that “we look forward to receiving and reviewing the application and supporting evidence for his latest attempt.”
The past April, I was in Rome ready to witness the debut of what promised to be the city’s first great celebration of automotive elegance: the inaugural Anantara Concorso Roma. Collectors had gathered from across the globe, Piazza della Repubblica shimmered with anticipation, and the marble halls of the Anantara Palazzo Naiadi were abuzz with conversations of Ferrari, Lancia, and Fiat.
But Rome, as it often does, reminded us that tradition is bigger than any one event. News of the Pope’s passing swept through the Eternal City, and with it came the respectful postponement of the concours. The city’s collective heart turned toward reflection.
And yet, standing there, I couldn’t help but feel that this pause was only a prelude. Rome doesn’t do things halfway. When she makes you wait, it’s because something grander is coming.
With new dates set, April 16–19, 2026, the Anantara Concorso Roma is returning, not diminished but magnified, promising a weekend where la dolce vita comes to life fulfilling the dreams of petrol-heads and collectors alike.
Living History at Palazzo Naiadi
The official host hotel, Anantara Palazzo Naiadi, is not just a place to stay, it’s part of Rome’s soul. Rising above the ancient ruins of the Diocletian Thermal Baths, the 19th-century marble palace curves around Piazza della Repubblica like an amphitheater. Its neoclassical portico greets you in pretty much the grandest way possible, welcoming each guest as if you are royalty.
When I walked through its marble corridors this Spring, I felt the layers of Roman history whisper—emperors once bathed here, centuries before collectors would gather to toast vintage Alfa Romeos on the rooftop terrace. This is a hotel worth checking out whether you will be attending the concorso or not.
Anantara Concorso Roma
The lineup for 2026 reads like a dream for any automotive enthusiast, a gallery of Italian artistry and engineering. The 1902 FIAT Type 12/16hp, one of the earliest survivors of Italy’s automotive dawn. A 1951 Cisitalia 202 SC Gran Sport Cabriolet, a rolling sculpture that helped shape post-war design. And perhaps most evocative of all, the 1963 Ferrari 275P, a car that embodies the golden age of Italian racing.
To see them not in a museum, but rather displayed in Villa Borghese’s Piazza Bucarest or rolling through Rome’s cobblestone streets, is to see Italian craftsmanship where it belongs, under the Italian sun, surrounded by centuries of architecture.
A Weekend of La Dolce Vita
This is no ordinary concours. It’s as much about the lifestyle as it is about the cars.
Wednesday begins with private tours and curated shopping for early arrivals because in Rome, a tailor or a jeweler’s atelier can be just as iconic as a Ferrari’s silhouette.
Thursday night brings a rooftop welcome reception at Palazzo Naiadi, where prosecco is sure to flow.
Friday delivers pure theatre: the Giro d’Anantara, where owners take to the streets, engines echoing against ancient walls, before gathering for dinner at Casina Valadier in the gardens of Villa Borghese.
Saturday is Judging Day, punctuated by a Champagne reception, elegant lunches, and a black-tie dinner at Palazzo Brancaccio.
Sunday closes with awards, culminating in the announcement of Best of Show.
For those who want to immerse themselves, VVIP packages offer accommodations at Palazzo Naiadi, gourmet dining, and premier access to every gathering. Weekend passes with and without accommodations are available, while day passes start at just $110 USD, making it accessible for anyone eager to witness this new Roman tradition.
Some classic autos need to be honored in a special way – and here is an example with these car cocktails named after some great vehicles. They definitely will put you on the highway to fun!
Automobiles raced on the scene in the 1920s and people were fascinated. Cocktails named in their honor followed including the sidecar, the La Mans, and more. What better way to kick back and take a relaxing trip by savoring some of this flavorful concoctions. Some have faded in and out of menus, but all maintain a place in drink history. This weekend take these car cocktails for a spin.
The granddaddy of car cocktails is the Cadillac margarita. A go to when you want the sweet, sour power of tequila and sunshine all in a frosted glass. Its history starts at the Cadillac Bar in Nuevo Lardo, Mexico, but hit the big time thanks to a risque lads magazine. The power concoction appeared in the 1979 Playboy Bartender’s Guide, but its premiumization came by way of cranberry liqueur, not Grand Marnier, which pulled in later.
Ingredients
The Sidecar
The famed drink appeared during WWI at a bar in either London or Paris. Created in honor of a dashing captain and the sidecar he had on his motorbike. This rich drink with a hint of sour has had its ups and downs, but it still a staple in cocktail bars worldwide.
Ingredients
1 1/2ouncescognac
3/4ounceorange liqueur such as Cointreau
3/4ouncelemon juice, freshly squeezed
Garnish with an orange twist
Create
Coat the rim of a martini glass or champagne coupe with sugar, if desired, and set aside
Add the cognac, orange liqueur and lemon juice to a shaker with ice and shake until well-chilled
Strain into the prepared glass
Garnish with an orange twist
The Mercury Cougar
A fun classic drink for weddings, anniversaries or just hanging out, this drink will have you on the highway of fun quickly.
Ingredients
1 1/2oz gin
1/2ozCointreau
1/2oz fresh cucumber
1/4oz simple syrup
2sprigs of rosemary
Create
Muddle stripped rosemary and simple syrup
Combine ice, gin, cointreau, and cucumber juice, shake well
A great auto deserves a cocktail – and Italy did it right with this delicious simple drink. The bitters combination is made for those who live life in the fast lane.
Ingredients
1 ½ oz Fernet-Branca
1 ½ oz Campari
Create
Combine in a mixing glass with ice
Stir for at least 20 seconds
Pour into a chilled glass over ice
Enjoy these classic car cocktail, but be careful getting behind the wheel.
(CNN) — It was a case of third time lucky for Charles Leclerc who finally won his home Monaco Grand Prix on Sunday, after starting the race in pole position in two previous editions.
The Monégasque driver led from start to finish, crossing the finish-line over seven seconds ahead of second-placed Oscar Piastri.
Ferrari’s Leclerc paid an emotional tribute to his late father after the race, telling broadcaster Sky Sports that he was thinking about him as he drove towards the finish.
“He has given everything for me to be here and it was a dream of ours for me to race here and win here, so it’s unbelievable,” he said.
Leclerc also had to survive a dramatic opening lap in which a fifth of the field crashed, causing the race to be red-flagged before a lengthy delay, during which marshals cleared debris off the track and rebuilt sections of the barriers.
The chaos began when Ferrari’s Carlos Sainz punctured just after the start following contact with Piastri and had to use a run-off.
Then, in a separate incident, Kevin Magnussen clipped Sergio Pérez while trying to overtake him and the Red Bull driver bounced along the walls, his car crumbling and shedding debris all over the track, before coming to a stop in a crumpled heap with just one tire left.
Magnussen’s teammate Nico Hulkenberg was also caught up in the crash from which all the drivers were able to walk away but were all forced out of the race.
There was another incident in the pack too causing Alexander Albon to retire from the race after he collided with his Alpine teammate Pierre Gasly.
The red flag offered a reprieve for Sainz who was able to retake his original position in third place on the grid when the race restarted after a lengthy delay to rebuild the barriers that Pérez crashed into.
He held onto finish in third place, with McLaren’s Piastri sandwiched between the two Ferrari drivers in second place.
They celebrated on the podium with Leclerc, who became the first Monégasque driver since 1931 to win on one of the sport’s most historic circuits. It is the race, Leclerc said afterwards, that made him “dream of becoming a Formula One driver one day.”
Red Bull’s Max Verstappen could only finish sixth.
Don’t make the mistake of patronizing the Ferrari 296 GTS. I know it’s tempting, because this $366,139 centerfold packs a V-6 hybrid setup rather than the 8- and 12-cylinder power plants that have made Ferrari NV famous. There’s a lot of pride and brand identity built into those internal combustion machines. “Ferrari doesn’t make cars, Ferrari makes engines,” as the saying goes.
The smaller engine is not without precedent. The company made road-going V-6s in the 1970s, though it doesn’t recognize those “Dino” models as official, brand-name Ferraris, even today. It’s a long story having to do with Enzo Ferrari’s deceased son, nicknamed Dino, and some sort of weird machismo about how many cylinders belong in an engine before it can be considered manly. (The models were designed and built by Ferrari but marketed as a new, entry-level brand called Dino.)
Anyway. As Ferrari rolls toward its first all-electric car, arriving next year, it makes sense that it would also make a hybrid or two. The 296 GTS is the open-air version of the excellent Ferrari 296 GTB plug-in hybrid, which made its debut in 2021, following the LaFerrari mild hybrid of 2013.
I drove the 296 GTS around South Beach and Miami’s Design District, over Rickenbacker Causeway, and out to Hard Rock Stadium during the Formula 1 Miami Grand Prix. It was a Ferrari-heavy weekend: The brand was celebrating 70 years of sales in the US and had unveiled a glorious new pair of 12-cylinder sports cars. I tried not to get too distracted. Here’s what I thought.
The Essentials
The mid-engine, rear-wheel-drive two-seater combines 819 horsepower and 546 pound-feet of torque. It has seven miles of all-electric range and 47 MPGe in combined gasoline and electric driving. With a smooth eight-speed transmission and ultra-supple handling, it will get to 62 mph in 2.9 seconds and hit a top speed of 205 mph.
The Good
Arresting, uncanny beauty characterizes this stunning Spider. I drove one in Blu Corsa, a decadent tone that accentuated its most seductive angles and highlighted its rear buttresses, worthy of a feature in Architectural Digest. This is one of the rare convertibles that looks as good with the top up as it does with it down. (The roof folds down in 14 seconds, at speeds of up to 28 mph.) Either way, this Italian treat exists not in the realm of fashion but in the realm of style.
Possibly even more exciting, the 296 GTS is faster than almost anything else you can buy—but the way the handling, suspension and balance of the car control that speed so elegantly is what makes driving it an unforgettable experience. The hybrid power plant excelled when I drove slowly through pedestrian-heavy Collins Avenue; its all-electric mode kept the car blessedly silent so I wasn’t that person with a screaming engine disturbing the joggers and cyclists as they enjoyed the ocean vibes.
Cruising over Miami’s many bridges and overpasses felt like a chance to fly. That’s when the full power of Ferrari’s unique engine made the car soar. In those exhilarating moments, submitting to legal speed limits became my only concern.
The Bad
The inane infotainment system. The maddening setup offers a postage stamp of a haptic touchscreen on the steering wheel to control simple things such as the radio station. I had to rely on my passenger and their own little dashboard-mounted control screen to adjust the climate and audio and to sync my phone with the car, which was almost as complicated and annoying for them as it was for me. Anyone who’s tried to reason with the old-world Italian mentality of time and order will get it. (An American who works for an Italian company once told me, “Italians are great at making simple things complex and complex things simple.”) We love them for it.
If you’ve got long legs or big feet or both, you’ll find the footbox rather claustrophobic.
If You Remember One Thing
There’s a reason why Ferrari’s order banks are full years in advance, even when the average price of its cars is four times higher than Porsche’s. The company sets the bar for sexy sports cars that are fun to drive and that look incredible even when parked. The 296 GTS is one of them.
Still unconvinced? Drive it around for a day and bask in the appreciative looks from your fellow drivers and in the sheer fun of driving it, and just keep your mouth shut about what’s under the hood. Nobody needs to know it’s only a V-6.
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The new 2024 Formula 1 season is only a couple of weeks away, and whether you’re a diehard Ferrari fan or can’t get enough of Max Verstappen and his Red Bull winnings, we’ve rounded up the best F1 merch below to get you all geared up for the next season.
The best Formula 1 merch and gear for 2024
Scuderia Ferrari Italian Hat
This top-rated hat is Ferrari red and has the team’s logo up front. There’s a drawstring closure for comfort and it’s washable as well – just remember that it’s handwash only.
Red Bull Racing F1 Men’s 2023 Sweatshirt
For Max Verstappen fans, choose this F1 Red Bull sweatshirt. The hoodie has the Red Bull Racing logo on its front, back and sleeves. It’s machine washable, has a drawcord for adjustability and side pockets for storage.
Lego Speed Champions Mercedes-AMG
I own this Lego set and love how realistic both cars look – they’re currently on display on my bookshelf. It’s a great set for both Lego aficionados and beginners, and each model race car is great for pretend play when the real F1 races start. There are 564 Lego pieces in total, and the set is recommended for children ages nine and up.
McLaren F1 Men’s 2022 Team Polo Shirt
McLaren fans will like this polo shirt available in both orange and dark gray tones. It has a breathable mesh back panel to keep you cool and it’s extremely lightweight, making this a great option for everyday wear or the gym. It’s machine washable too.
If You Can Read This Funny Socks,
If you want something more humorous for the F1 fan in your life, choose these slogan socks. They’re made from a cotton/polyester blend and feature decals of everything from racing cars to a podium on them.
2024 Formula Racing Track Fan T-Shirt
This graphic tee lists every F1 track on the 2024 calendar. It’s available in five colors and is machine washable. Since it’s available in both men, women and youth options, you can buy one for every family member.
Aston Martin Cognizant F1 2023 Men’s Team T-Shirt
Aston Martin had a big comeback in the 2023 championship, and fans will love this themed jersey featuring the brand’s logo and their partners. It has a lightweight polyester build and is moisture-wicking too, according to the brand.
* By clicking on the featured links, visitors will leave Localish.com and be directed to third-party e-commerce sites that operate under different terms and privacy policies. Although we are sharing our personal opinions of these products with you, Localish is not endorsing these products. It has not performed product safety testing on any of these products, did not manufacture them, and is not selling, or distributing them and is not making any representations about the safety or caliber of these products. Prices and availability are subject to change from the date of publication.
Hi, I’m Michael Mann. I’m the director of ‘Ferrari’. This is a scene in the San Pietro Church in which there’s a workers mass and Enzo and Laura have just come from their daily visit to the mausoleum where their son Dino was buried. He died a year earlier. They’re both in a state of mourning. And it opens with the priest giving a speech, which is designed to establish the miracle of the eternal combustion engine, almost as if it’s something religious, because it has the power to do what’s never been done before, which is make everybody mobile, make it so people can move through the world. It’s infected Enzo differently in the sense that it imbued him in the early ‘20s to become a racecar driver, which has its own addictive, almost spiritual kind of high to it. “— the nature of metal, how it can be forged, shaped, and hammered by your skills into an engine, holding inside a fire to make power to speed us through the world.” Meanwhile, on the nearby racetrack called The Autodromo, Maserati is challenging Ferrari for the record at the track. This is something they take seriously. The driver is Jean Behra, played by Derek Hill, whose father, by the way, Phil Hill, was first American Formula One world champion. It intercuts with the mass, we’re hearing Mozart’s “Ave Verum.” The priest consecrates the host. Meanwhile, something very important is happening. We’re seeing Behra shift through something called the ‘Stanguellini Chicane.’ It’s important to know those shifts that have to happen, because in a later scene, we’re going to see Castellotti make an error that will cost him his life. There’s a particular piece here where there’s the camera tilting down the crucifix that cuts to the priest raising the chalice, and then you go right over the shoulder of Jean Behra driving. And it personalizes it and that was to give things significance. We see stopwatches, because within the church, you can hear the gunshot because the Autodromo is so close. And they’re able to time the time between the first gun shot and the second gunshot, which will tell them whether or not the competitor, Maserati, has broken the record. Meanwhile, the communion is ongoing to Mozart’s “Ave Verum.” And we’re seeing some unusual in that it’s so ordinary, but it’s very complete of Derek Hill really driving that Maserati, which is an actual car. It’s owned by Nick Mason, the Pink Floyd drummer. It’s raced in historical races. Because of the technology, and the period, and the narrow tires, it’s extremely precise. One slip and the car is out of control. So we’re seeing those controls actually being put in. And of course, the Maserati does break the Ferrari record. My serious intent was to imbue into audience’s minds what’s in our characters minds, which is, there’s something almost religious and deadly serious about it. The metaphysical, the savage power is really what is wedded together as a value in the scene. So truly, the scene is operating on about two or three different levels all at the same time. “Espiritu Santi. Amen.” “Amen.”
In his review of Ferrari,Vanity Fair’sRichard Lawson points out that, like Ridley Scott’sHouse of Gucci,Michael Mann’s latest is a “heavily accented film about a great Italian house of industry.” Adam Driver plays titular titans of business in both movies, as Maurizio Gucci and Enzo Ferrari. That said, Driver would like the world to stop fixating on the characters’ similarities, the actor recently said on the SmartLess podcast.
Taking these roles one after the other is “a good example of not being strategic in a way that I probably should” in his career, Driver told hosts Jason Bateman,Sean Hayes, and Will Arnett. “So many people have been like, ‘How many Italians… ?’ I’m like, it’s just kind of worked out that way. But I’m like, you know, it’s Ridley and it’s Michael, and they’re, in my mind, some of the best filmmakers. Who gives a shit that it was two Italians back to back?”
The Oscar-nominated performer said that he’s unlikely to play another Italian man after all the conversation surrounding his dual performances. “I’m surprised how much it comes up. It’s like, ‘You have a thing,’ and I’m like, ‘It’s two! It’s two Italians!’” Driver said. “It’s just two. The press isn’t a place where you have a nuanced conversation.”
He added, “That seems like a hard idea. Like, ‘What is it with Italy?’ I mean, it’s less to do with Italy, although I like it. It’s more about Ridley Scott and Michael Mann and the projects themselves. Italy is not the first thing on my mind.”
Driver’s candid response comes on the heels of a headline-making press tour for Ferrari during which he fielded inquiries about whether not looking “like the typical movie star” negatively impacted his career and replied to criticism that Ferrari’s crash scenes are “cheesy” with “Fuck you, I don’t know. Next question.”
Wonka is winning the long New Year’s weekend box office race as a tumultuous 2023 comes to a close.
The Warner Bros. origin pic — starring Timothée Chalamet as young candymaker Willy Wonka — is on course to gross $31.8 million for the four-day holiday weekend, putting its domestic tally at a sweet $142.5 million through Monday. And it wasn’t the only musical from Warners to hit the right note. The Color Purple, produced by Oprah and Steven Spielberg, has been doing better-than-expected business since opening on Dec. 25, and placed No. 4 on the New Year’s weekend chart with an estimated $17.7 million for the four days. The film’s estimated domestic tally through Monday is an impressive $50 million.
Two weeks ago, box office pundits weren’t sure whether domestic revenue could clear $9 billion after a brutal fall season. But thanks in particular to mid-range and smaller films that overperformed over Christmas, revenue was able to eke past $9 billion in a post-pandemic era first. That marks a 20 percent gain over 2022. The bummer: Revenue is still down 20 percent to 21 percent from 2019, the last year before the COVID-19 crisis.
Wonka, which launched in mid-December, emerged as this year’s Christmas box office winner when Warners’ very own Aquaman and the Lost Kingdom sunk in its box office debut over the Dec. 22-25 weekend and failed to recover in a meaningful way even though it stayed high up on the chart. The DC superhero sequel is looking at a No. 2 finish over New Year’s weekend with an estimated Friday-Monday gross of $26.3 million.
That would put Aquaman 2‘s domestic tally through Monday at a lackluster $84.7 million — compared to $215.4 million earned by the first Aquaman through New Year’s Day over the year-end holidays in 2018. Both films were directed by James Wan and star Jason Momoa in the titular role.
After a sluggish start over Christmas weekend, Illumination and Universal’s Migration held in steadily for an estimated domestic total of $59.4 million through New Year’s Day after placing No. 3 for the long weekend with a four-day gross of $22.3 million. Its domestic total is ahead of the $55 million earned over the 2022 year-end holidays by Puss in Boots: The Last Wish, which topped out with a strong $186.1 million domestically. Globally, Migration has earned $100 million (it’s been soft overseas).
The Color Purple, from Warners and Amblin, got off to a dazzling start Christmas Day with $18 million, the second-best opening ever for a film launching Dec. 25 and the best since 2009, not adjusted for inflation.
Wonka and The Color Purple appear to reverse the musical curse of recent times, and their success is good news for Paramount’s upcoming Mean Girls and Universal’s 2024 Christmas event pic Wicked.
The troubled rom-com genre also got a boost with Sony’s edgy holiday entry Anyone but You, which rounded out the top five with an estimated $11.5 million for the four days to push its domestic tally to $27.6 million.
MGM and Amazon’s George Clooney-directed The Boys in the Boat followed at No. 6 on the four-day holiday chart with $11 million for an estimated domestic total of $24.6 million through Monday.
A24’s wrestling dramaThe Iron Claw placed No. 7 with an estimated $6.9 million for the four days. The Zac Efron-led pic’s cume through Monday is a pleasing $18.2 million.
Neon’s Ferrari placed No. 8 over New Year’s weekend with an estimated $5.2 million for the four days for an early domestic tally of $12.1 million. Like The Color Purple and Boys in the Boat, Ferrari opened Christmas Day.
Michael Mann, the auteur behind such classics as Heat, Ali, and Collateral, remains one of our finest directors. This is thanks to a bevy of motion pictures featuring dense plots, intricate characters, and an unmatched devotion to detail.
Mann’s phenomenal latest film, Ferrari, centers ex-racer Enzo Ferrari (Adam Driver). It sped into theaters this week, earning (mostly) positive reviews that prove the iconic director hasn’t lost his golden touch. Where does Ferrari rank among his films? Read on to find out!
12) The Keep (1983)
Mann flexed his commercial muscles with The Keep, a bizarre misfire that nonetheless boasts strong production values—including a gnarly-looing baddie and a terrific score by Tangerine Dream—and plenty of the director’s visual flourishes. The film features a stellar cast, namely Scott Glenn, Gabriel Byrne, and Ian McKellen, and remains a watchable piece of horror. Unfortunately, as is customary with most of Mann’s productions, post-production issues removed a huge chunk of footage from the narrative, resulting in a 90-minute mess begging for a director’s cut.
11) Public Enemies (2009)
The powerful one-two punch of Johnny Depp and Christian Bale isn’t enough to lift this curiously limp biopic about renowned criminal John Dillinger off the ground. Public Enemies has the look and feel of a genuine classic but can’t overcome its fractured narrative, muddled performances, or awkward assembly. Again, it’s not a bad film. My views on Public Enemies have increased favorably on multiple rewatches. The positives outweigh the negatives, but it’s still only a good film when it should have been great.
10) Blackhat – Director’s Cut (2015)
Mann’s films often require multiple rewatches to grasp, mainly due to their dense plotting and the director’s slavish devotion to realism. Mann likes his characters raw and presents a gritty and unfiltered portrayal of his subject matter, resulting in action thrillers that often leave general audiences in the dust. Case in point — Blackhat, a cybercrime thriller starring Chris Hemsworth as a renowned hacker chasing a high-level cybercrime network. Ripe with complex computer jargon and a labyrinth plot, the action thriller left audiences cold in 2015 despite an all-star cast and some of Mann’s best action sequences.
The recently released collector’s edition, which features three versions of the film, including Mann’s intended cut, likely won’t win any suitors. However, I was drawn into the story on this go-round and fascinated with this unique world of laptops and cybercriminals. Blackhat is far from Mann’s best work, but there’s plenty here to enjoy should you give it a chance.
9) Ferrari (2023)
Ferrari fits snugly into 2023, the year of the character drama, and eschews big thrills and emotions for a straightforward examination of a flawed but captivating individual. As he did with Ali, Mann wisely focuses on one point of Enzo Ferrari’s life, capturing a period of turmoil during the summer of 1957 when Ferrari faced bankruptcy, a disgruntled wife, and the looming Mille Miglia race across Italy.
As typical, Mann doesn’t hold back on the grisly details, painting Ferrari as a troubled soul still reeling from the death of his son and seeking whatever form of emotional support he can grab. His company remains his last hope for success—losing it would likely drive him deeper into anguish and despair. He bids everything on the Mille Miglia. We watch as he grapples with this decision while navigating his troubled marriage and relationship with his mistress, Lina, and their son.
Mann doesn’t judge Ferrari’s actions. He shows us the man and steps back. Ferrari didn’t care what people thought of him, lived large, slept around, and maintained a rigid focus on the finish line.
8) Miami Vice (2006)
Directing a movie like Heat is a double-edged sword, as all the work after that will be compared to the classic crime drama. Indeed, Miami Vice is no Heat, but it’s not trying to be. Nor is it trying to mimic Mann’s popular Miami Vice TV series from the 1980s. Instead, this iteration of Miami Vice reimagines the concept as a dark and gritty thriller, seeped with sex and violence and bursting at the seams with style. Jamie Foxx and Colin Ferrell star as Ricardo Tubbs and James Crockett, undercover detectives who get caught up with drug trafficking in the neon-lit Florida scene. Matters get worse when Crockett falls for a drug dealer’s wife, leading to plenty of high-stakes drama and impressive set pieces that get the adrenaline pumping.
Miami Vice remains one of Mann’s messiest thrillers. Still, it’s also a gripping yarn with solid performances—particularly from Foxx—and enough testosterone-fueled action to keep viewers on the edge of their seats.
7) Manhunter (1986)
I really like Manhunter, though it’s probably my least-watched Mann flick behind The Keep. An adaptation of Thomas Harris’ Red Dragon, a prequel to Silence of the Lambs, the thriller about Will Graham’s pursuit of a serial killer known as “Tooth Fairy,” is appropriately dark, stylish, and atmospheric. Mann leans heavily on psychology and conjures a thought-provoking, cerebral journey that remains with viewers long after the credits roll.
Fair warning: the film is deliberately paced and bleak as hell, which might put off some expecting a more conventional and fast-paced thriller. Manhunter isn’t quite on par with Silence of the Lambs, but it remains one of Mann’s most compelling thrillers.
6) The Insider (1999)
Al Pacino and Russell Crowe headline this gripping drama about one man’s efforts to expose Big Tobacco. Mann weaves an intricate morality tale that skillfully balances suspense and drama and grips you throughout its admittedly lengthy running time. Not only does The Insider provide a view behind the curtain to one of the most powerful companies in the world — which lied about the addictive substances inside its products — but the film also gives us a look inside the media world where Pacino’s Lowell Bergman battles executives to put the whole truth on the air. The Insider should have swept the Oscars, but that’s a different conversation.
5) Ali (2001)
If anyone else directs Ali, it’s likely a personal best. For Mann, the powerful biopic about the outspoken boxer Muhammed Ali is just another walk in the park. Will Smith turns in the performance of his career and slips into Ali’s shoes inside and outside the ring. He captures the icon’s charisma, pain, and sorrow during a troubling period that saw his title belt stripped for political reasons.
Mann chronicles Ali’s attempts to take back the crown, crafting a series of incredible fight sequences that succinctly capture the ferocity of the sport. He also ensures you walk away from the biopic knowing Ali, the man behind the myth.
4) The Last of the Mohicans (1992)
My introduction to Mann came in the form of 1992’s epic The Last of the Mohicans, a film I watched often in my history classes and adored for its stunning cinematography, brutal action, and incredible score (by Trevor Jones and Randy Edelman). Based on the classic novel by James Fenimore Cooper, this loose adaptation has it all: romance, drama, politics, and kickass action. It’s undoubtedly Mann’s most accessible film, unabashedly old-fashioned in its execution but appropriately authentic regarding historical accuracy.
Daniel Day-Lewis stars as Hawkeye, the adopted white son of the Mohican tribe, tasked with guiding the daughters of Colonel Edmund Munro to Fort William Henry. Admittedly, the picture bites off a little more than it can chew, leading to a love story in dire need of a second act, but my minor quibbles aren’t enough to drop Mohicans out of Mann’s Top 5. It’s a glorious epic.
3) Collateral (2004)
Mann has yet to top his best efforts—Thief and Heat—but Collateral came close. Tom Cruise and Jamie Foxx are sensational in this crime thriller about a taxicab driver forced to drive a hitman around to his various murders. It’s a simple but ingenious setup that allows Mann to explore themes of moral ambiguity and relationships that often dominate his pictures. Foxx’s lowly cab driver, Max, dreams big but doesn’t dare to follow through with his plans; Cruise’s Vincent has made it to the top of his respective profession, in many ways living the kind of life Max can only dream. Together, they explore the consequences of their choices and reflect on the randomness of life. It’s a compelling character study wrapped in a thriller, replete with a Hitchcockian finale that’ll have you on the edge of your seat.
2) Thief (1981)
I love Thief. It’s one of my favorite movies. James Caan is remarkable as Frank, a professional thief trying to go straight. The plot chronicles his struggles to reconcile his past misdeeds with his current predicament. He dreamed of a glorious life in prison, fulfilling the American Dream. To achieve his vision, however, he must do what he does best: break the law.
Of course, we never believe Frank will reach the promised land — neither does he, to a certain extent — and his slow realization of where his life is headed makes for one helluva motion picture. Caan delivers the performance of a lifetime, while Mann’s sturdy direction and Tangerine Dream’s evocative score create an atmosphere ripe with tension and suspense — an incredible film.
1) Heat (1995)
So, why isn’t Thief number one? Well, because Heat is, to quote Vincent (Al Pacino), “Pretty f—ing great.” From its riveting cat-and-mouse plot to its complex characters, Heat pulls you in like few films do.
Mann explores two highly skilled individuals on opposing sides of the law. Robert DeNiro’s Neil McCauley is a professional thief who spends his days pulling scores, and Al Pacino’s Vincent Hannah is sent to stop him. Each struggles to exist in a world overrun by serial killers, corrupt businessmen, broken marriages, angry children, and short-tempered managers. Both cling to their respective careers to achieve something close to happiness.
If that’s not enough, Mann delivers the greatest shootout in cinema history — a colossal piece of sound design and frenetic action produced with the director’s signature gusto. If you haven’t seen Heat, stop what you’re doing and watch it now. You’re welcome.
The musical — whose producers include Oprah and Steven Spielberg — opened to $18.1 million from 3,142 theaters on Monday, the second best showing ever for a movie opening on Christmas Day and the best since 2009. Fantasia Barrino, Taraji P. Henson, Danielle Brooks and Colman Domingo star in Blitz Bazawule’s retelling of the beloved Alice Walker novel, adapted from the Tony-winning Broadway show.
The record-holder for biggest Christmas Day opening belongs to 2009’s Sherlock Holmes ($24.6 million), not adjusted for inflation.
The George Clooney-directed The Boys in the Boat, another film opening on Christmas Day, also did notably better than expected with $5.7 million from 2,557 locations. The MGM and Amazon adult drama, starring Joel Edgerton and Callum Turner, joined The Color Purple in earning an A CinemaScore. Michael Mann’s Ferrari, also opening on Dec. 25, earned $2.9 million from 2,330 sites after receiving B CinemaScore.
While The Color Purple easily trounced James Wan’s Aquaman and the Lost Kingdom‘s Monday gross of $10.6 million, Aquaman 2 is the overall winner of the long Christmas weekend with a four-day opening of $38.3 million from 3,706 theaters domestically. But the superhero sequel — which was also slapped with a meh B CinemaScore — doesn’t have much to crow about after posting one of the lowest starts in the history of the DC Cinematic Universe. The Jason Momoa-led superhero sequel fared better overseas with $80.1 million from 72 markets, with the largest chunk, or $30.4 million, coming from China.
In 2018, the first Aquaman was the king of the year-end holiday when swimming to a three-day opening of $67.9 million over the Dec. 21-23 weekend. Through Christmas Day, which fell on a Tuesday that year, its domestic tally was a rousing $105.4 million (it earned $22 million on Dec. 25). The movie went on to earn $335.1 million domestically and $1.15 billion globally, the best showing ever for a DCEU title, not adjusted for inflation.
Wan’s movie lends further credence to the superhero fatigue theory. Aquaman 2‘s opening trails the recent $46.1 million start of box office debacle The Marvels from rival Marvel Studios.
This year’s Christmas box office feast was a mixed blessing. Revenue for the four-day weekend was up 11 percent over the same stretch in 2022, but down 46 percent from 2019, which is considered a key pre-pandemic benchmark. And revenue for the three-day weekend (Dec. 22-24) was up 1 percent over 2022, but down 62 percent behind 2022. Making year-over-year comparisons can be tricky when it comes to the year-end holiday, since Dec. 25 is a moving target.
Warners definitely dominated this year’s holiday marquee, between Aquaman 2, Wonka (also a musical), and The Color Purple.
Wonka, which opened the weekend before the holiday, placed No. 2 on the four-day holiday chart with a take of $28.4 million from 4,213 sites for a domestic cume of $85.9 million. The Timothée Chalamet-led movie is dazzling overseas, where it has earned $171.3 million to date, for a global tally of $257.2 million through Monday. Wonka and Color Purple are proving that musicals may not be an endangered species after all, and it’s no small feat that The Color Purple placed No. 3 on the holiday chart considering it played just one day.
Coming in No. 4 on the four-day chart was Illumination and Universal’s animated family pic Migration. The tentpole is reporting a four-day opening of $17.5 million, the lowest start in Illumination’s history. The movie is doing muted business so far overseas, for a projected foreign tally of $22 million from 43 markets through Sunday.
The final verdict on Migration won’t be rendered until New Year’s weekend, as there is no more lucrative stretch of the movie going year than the week between Christmas and New Year’s. Still, Disney was skewered when Wish posted a five-day start of $32.5 million over Thanksgiving last month.
As with the superhero genre, there is concern across Hollywood about the animated theatrical marketplace.
Columbia/Sony’s edgy romantic-comedy Anyone But You unwrapped a fifth-place finish with an estimated $8 million from 3,055 theaters for the four days. The new pic, starring Sydney Sweeney and Glen Powell, earned a B+ CinemaScore. (No studio likes anything other than some variation of an A grade for most movies.)
Females made up nearly 80 percent of all patrons buying tickets to see Anyone But You, while males made up at least 66 percent of A24’s Zac Efron-led wrestling drama The Iron Claw, which placed No. 6 with a better-than-expected $6.8 million from 2,774 cinemas.
At the specialty box office, Searchlight Pictures opened Andrew Haigh’s acclaimed All of Us Strangers in four locations in New York and Los Angeles. The awards contender is looking at an estimated location average of $36,000 for four days, the highest of any film on the Christmas weekend chart.
Sean and Amanda are joined by The Ringer’s Michael Mann aficionado Chris Ryan to discuss one of the year’s best and most anticipated movies: Ferrari (1:00). They discuss the successes and failures of the casting, how transfixing Adam Driver is at the center of the frame, where this slots into the Mann oeuvre, and whether it will (or should) be Mann’s last film. Then, they each share their five favorite Michael Mann movies (41:00).
Hosts: Sean Fennessey and Amanda Dobbins Guest: Chris Ryan Senior Producer: Bobby Wagner
Michael B. Jordan – Source: Jemal Countess/GA / Getty
Footage of Michael B. Jordan’s viral Ferrari crash randomly turns up on Instagram showing the actor losing control of the car in a freak accident.
On December 2 footage floated around social media of a wrecked Ferrari that belonged to Michael B. Jordan after being involved in an accident. His baby blue Ferrari hit a parked Kia just before midnight in Hollywood leaving most puzzled about how it happened. Many instantly accused him of being drunk but that wasn’t the case and the actor didn’t face any charges.
According to TMZ, LAPD didn’t perform any field test nor did the actor offer any explanation behind the accident.
No matter what’s happening in any populated area someone is always filming. Almost two weeks after MBJ’s bizarre wreck a video surfaced on Instagram allegedly showing how he wrecked his Ferarri 812 Superfast. The video appears to reveal he was engaging in a small street race with another sports car when he lost control of the Ferrari.
For what it’s worth most people will not know when a car starts sliding DO NOT press the brakes or you’ll lose control of the car. That’s why MBJ’s Ferarri has a special feature, launch control, which clearly wasn’t used.
Additionally, it looks like that’s exactly what happened, allegedly. After all, we hope he wouldn’t intentionally run his sports-car into the Kia. One thing about fast cars is they will certainly give you more power than you need at any given moment. A simple flex gone wrong is now a major headache for Jordan who now has a massive insurance claim, embarrassment, and one less car in the garage.
You can watch the alleged video of the street race and wreck below.
