Ford v Ferrari
2019 | Drama | 152 minutes | English
Info
In 1963, Lee Iacocca, VP of Ford, convinces Henry Ford II to purchase the cash-starved Ferrari car company. When Ferrari opts to sell to Fiat, Henry Ford is furious. Ford orders his racing car division to come up with a car good enough to beat the Ferrari at Le Mans. Iacocca hires Carroll Shelby, a racing driver who won Le Mans in 1959 and Ken Miles, a hot-tempered British racer and struggling mechanic. With Ford money backing them, Shelby and Miles start working on the Ford GT40 Mk1, tuning it up and fixing all the design flaws. However, for the upcoming 1964 Le Mans, Ford decides to replace Miles with another driver. Miles predicts failure. The car loses and Ford feels humiliated. In 1966 Leo Beebe takes over Ford’s racing division. He hires Shelby but not Miles. Beebe agrees that if Miles can win at Daytona, he’ll give Miles a shot to race at Le Mans. Miles is grateful to Beebe for giving him this opportunity. The race is filled with uncertainties and excitement and the outcome is quite a surprise.Cast
Matt Damon (Carroll Shelby) / Christian Bale (Ken Miles) / Tracy Letts (Henry Ford II) / Jon Bernthal (Lee Iacocca) / Josh Lucas (Leo Beebe)
Why Stream This Film?
First reaction by many: “I’m not going to see a movie about race cars.” Understandable. But do not let that deter you from seeing a really wonderful movie about human comradeship and conflicts, and the spirit and drive of two men to achieve what most called “the impossible.”
- Rotten Tomatoes Score (Critics Consensus): 92%
- Metacritic Score: 81
Accolades
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Academy Awards: Nominated, Best Picture; Best Film Editing (Michael McCusker, Andrew Buckland)
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San Francisco Bay Area Film Critics Circle Awards: Best Editing (Andrew Buckland, Michael McCusker)
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National Board of Review: One of the Ten Best Films of the Year
Now streaming on:
There’s no other way to say it: ROMA is one of the best movies I’ve ever seen, and one of the most moving. If Norma Desmond had been able to see it she wouldn’t have worried about the pictures getting small.
Few directors tell large-scale stories with as much sensitivity as Cuarón. In ROMA he refined his style of marshaling various narrative strategies, including cinematic spectacle. He uses both intimacy and monumentality to express the depths of ordinary life.
The sumptuous film, based on Cuarón’s own childhood, reverberates not only with innocence but with the awful intuition of its collapse.
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