The Odyssey follows Odysseus, the legendary Greek king of Ithaca, on his long and perilous journey home following the Trojan War, chronicling his encounters with mythical beings such as the Cyclops Polyphemus, sirens, and the nymph Calypso, while attempting to reunite with his wife, Penelope.

Nolan’s Complete Vision

As a filmmaker, Christopher Nolan is a force of nature who redefined the blockbuster movie experience beginning with 2005’s Batman Begins, and who has successfully tread the line between high-end action blockbuster filmmaking and more intriguing, thought-provoking arthouse work; in my mind, The Odyssey sits there. Interpreting the nearly 3000 year old work of Homer’s in his own vision, audiences find themselves watching a production that is filtered deliberating through Nolan’s own mind, and you almost feel like he’s exploring further ideas he previously explored in Oppenheimer with man’s unique take on both creativity leading to triumph or destruction, and it all makes for a very interesting realm on which to explore this ancient work.

Told with a structure that moves back and forth across time, itself a fabled Nolan trope, we come to see a disjointed and lost Odysseus who following the fall of Troy searches for a way to get back to his ancient home of Ithica, and tis narrative is juxtaposed with his loyal wife Penelope (Anne Hathaway) and his son Telemachus (Tom Holland) who wait holding out hope in Ithica for Odysseus return all while a vile group of suitors, led by the cruel and sadistic Antinous (Robert Pattinson) scheme and vie for Penelope’s hand in marriage, and total control of Ithica. With such a sprawling canvas, Nolan’s The Odyssey approaches its subject matter through a lens of memory, rage, and the passage of time, and it is less your standard action-adventure picture and more a thinking man’s blockbuster. Violence and action abound, but all of it is in service to Nolan’s study of the figure of Odysseus, and this work almost feels like a character study of a classical character, with all the veneer and polish stripped away so only the man is left.

A Cast of Titans

For Matt Damon, The Odyssey feels like an interesting choice for studying a hero stripped of his power and forced to contend with the reactive forces of fate and the will of the gods. Damon cuts a striking figure as the powerful Odysseus, but here Nolan really shows us him as an ordinary, if not gifted man, who is tested by the gods, must contend with forces beyond his control, and which test his will to its very limit. Damon delivers a man wrestling with the past and the consequences of his choices, making for a nuanced portrait of the legendary hero.

Juxtaposed with him are Anne Hathaway as his great love, Penelope, and Tom Holland as his loyal son, Telemachus, both of whom serve key roles in the production. For Anne Hathaway’s Penelope, we find a woman wrestling with the pain of longing, holding on by a very thin thread; she sees the bigger plan at play in Ithaca. Immense emotional power drives her performance as Penelope, and we see her holding on to her husband’s memory for dear life. Holland as Telemachus is a young man with everything to prove, but who is not schooled in the art of palace politics, and who must suffer the viper-like motions of the suitors who sit in his father’s hall. Seeking a chance to prove himself, he ventures out into the unknown, desperate for answers, and has to follow a path that will finally turn him into a man without his father’s presence.

Nolan’s The Odyssey also features a large cast of supporting characters, with some key standouts. Robert Pattinson’s Antinous, the leading suitor to Penelope, is a vicious and vile character who moves like a viper through Odysseus’ hall in Ithaca, seeking a way to claim what we view as his, and he’s incredibly frosty and repellent and again plays into Pattinson’s wheelhouse of delivering characters who can truly stand out. John. Bernthal also makes a solid presence as Menelaus, King of Sparta and husband to Helen, whose rage incites the Trojan war, and he delivers a hulking, muscular presence to the film, which is tinged by arrogance and power, but whose adherence to honour and loyalty leaves its mark on Telemachus. But the film’s scene-stealer is, hands down, John Leguizamo as Eumaeus, Odysseus’s faithful servant and blind swineherd, who holds to his master’s return and utterly seizes the audience’s attention with his performance.

Sheer Spectacle

In terms of the experience of Nolan’s The Odyssey, this is a picture where the fantasy is made real, and Nolan brings to life the famous moments that have defined Homer’s epic, from the Cyclops to the Sirens to the witchcraft of Circe, and all of it is presented in a way that feels mythical yet entirely practical and real. And all of it is captured in IMAX, making for a profound and exciting sight. Watching Nolan’s The Odyssey in IMAX is an experience unlike anything you’ve ever witnessed before.

The scale and scope only serve to magnify this gigantic story, and all of it is captured in pristine detail, with a grand attention to detail, and it utterly washes over you. Production design and the total ambience of the picture also ground the audience in the Bronze Age, and you feel like you’re watching a picture that is both ancient and also weirdly contemporary at the same time, or a legend that exists outside of time and place where mysticism and the real clash side by side, and where gods and ghosts walk amongst us. Academy Award-winning Ludwig Göransson’s soundtrack is also tempered by sounds of a time long passed, echoing with the chimes or strikings of bronze, and heavy percussion riffs that echo throughout the theatre, and again it elevates the experience of the picture.

But if The Odyssey does have a moment where its heightened feeling comes to a cataclysm then its definitely the fall of Troy, when Odysseus and Greeks creep from the Horse, and ignite a trap that sees Troy sacked and left to fiery ruin, and not only does its heat and fire and flame quench the very limits of the IMAX screen, but this moment is where the film cements its thematic moment. Told in flashbacks that move back and forth across the narrative, it is Odysseus’s revelation in the powerful third act, where both his genius and fury are visited upon the Trojans, and where Nolan’s exploration of time, memory, regret, and consequence comes into play. This third-act moment is where the whole film comes together, and its presentation of the grand theme will truly affect the audience who witness it.

Final Verdict: Nolan’s Vision

The Odyssey is a vision of cinema fully shaped by the mind of Christopher Nolan, and he takes audiences into the size and scale of this story through the immense spectacle of IMAX and delivers a narrative that is his definitive take on the subject matter of the original text.

Image: Universal Pictures

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In 1984, Oregon-based Nike, Inc. is on the verge of bankruptcy due to low footwear sales. In response to this, chairman Rob Strasser (Jason Bateman), along with co-founder Phil Knight (Ben Affleck), hires fellow salesman and basketball scouting expert Sonny Vaccaro (Matt Damon) to come up with a new pitch for a shoeline based on current American sports.

Two-time Academy Award-winning filmmaker Ben Affleck steps behind the lens as director for Air and winds back the clock to the early 1980s. We’re talking about the era of Ronald Regan, Wheaties Ads, Jane Fonda workouts and raw Americana and Affleck and his team do an amazing job of setting the stage for this true underdog story. Smack in the middle of all of this is upstart running shoe company Nike, which has recently gone public and is now facing bankruptcy due to falling sales and a faltering basketball division. But one innovative decision could turn their fortunes and it soon becomes a race against time to save the brand.

Affleck sets up Air as the ultimate underdog story and presents this as a true-life Rocky narrative. He’s got all the players and plays for this one: the maverick scout turned salesman, the concerned manager, the money-focused CEO, the sharp-mouthed agent, the eccentric designer, the search for innovation, the battle between risk and reward and the pursuit of excellence. And all of it shines through in the film. Air is a film that moves at a brisk pace and you feel the clock burning as this group of creative, yet desperate executives do everything in their power to win over a future star player and there’s an equal measure of excitement and white knuckle tension throughout. Affleck brings the era of the 1980s to life in Air and the presence of acclaimed cinematographer Robert Richardson only adds to the acclaim and detail of this picture.

Standing front and centre in the picture is Matt Damon as maverick basketball scout turned Nike salesman Sonny Vaccaro and he’s having a blast with an intriguing character and thoroughly enjoys the challenge set by his lifelong best friend turned director. Damon makes a turn from his normal Hollywood self and slips into the role of the out-of-shape, gambling-addicted sports scout who is facing massive pressures and is searching for something to turn the tables for a failing Nike basketball decision. With limited funds and few options, Sonny places all of his bets on soon-to-be rookie NBA player Michael Jordan. And it’s a choice no one backs. With few options, and a good dose of heart and courage, Damon makes his pitch as Sonny, and he brings true care and heart to this long-shot character and audiences will be readily impressed.

Playing opposite Damon is Affleck who alongside his directing duties takes on the role of Nike CEO Phil Knight. As the head of a newly appointed public company, Knight is facing some tough choices and his focus is squarely placed on the bottom line. It’s a radical change of character for Affleck to take on and his presentation of Knight’s inflated ego sees him sparring plenty with Damon’s Sonny when it comes to the creation of the Jordan One. Then facing down the pair of Damon and Affleck is Chris Messina as David Falk, Jordan’s agent whose prone to fits of raging outbursts and whose severe anger management issues and caustic wit lead to plenty of humour on screen.

Chris Tucker makes an incredible return to form as Nike executive Howard White, who acts as Sonny’s direct report and who has a lot on the line with this deal. It’s a complete turnaround part for Tucker and he steals absolutely every scene that he’s in. Then there’s Jason Bateman as Nike Marketing VP Rob Strasser who is less than pleased with Sonny’s plan, but who in the end became a reluctant ally and friend, and whose sarcastic wit leads to plenty of laughs. Spinning the magic of Air together is Matthew Maher as Peter Moore, the design genius whose quirky antics marks him out as a real oddball, but who has the wisdom and ability to dream up the Jordan One, the most iconic sports shoe of all time.

Bringing together the heart and emotion of Air is none other than Academy Award winner Viola Davis as Michael Jordan’s mother Deloris. As a Triple Crown-winning actress, Davis has time and time again proven that she’s one of the all-time greats and her performance as Deloris Jordan gives Air its soul. Deeply concerned for her son’s well-being and future, she’s a tough, capable woman who can readily see through a slick salesman’s presentation and who will do everything in her power to see that her son gets a fair deal. Davis’ conviction and performance completely holds the attention of the audience and her role as Deloris Jordan is one of the best performances she’s ever given.

Air is an incredibly fun, enjoyable and uplifting cinematic watch and proves that with hard work and conviction the underdog can win in the end. It’s a story that shows us what is possible, using Nike’s slogan and creed along the way. An epic biopic of a legendary business deal with high stakes and million-dollar rewards, Air shows what can be achieved when you Just Do It!

Image: Prime Video

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In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

Based on the shocking true historical event that rocked the French nobility of the 14th century to its core and which was documented in-depth in Eric Jager’s best selling book, The Last Duel is an epic medieval tale of power, perspective and the truth, and offers director Ridley Scott an incredible new world to bring to life on the canvas of the big screen. Here he resurrects to the exact detail of what the 14th century was like. From the cold and open woodlands of Normandy to the highly ornate castles of Paris to the open battlefield of the 100 Years War, Scott resurrects the Middle Ages up on screen and audiences will be spellbound with the visuals that he crafts. Equal parts beautifully ornate and stunningly raw, Scott is able to craft a fully fleshed out feudal system for audiences and every detail, from costuming to housing, vehicles and weaponry, is handled with exquisite care.

In this world, he introduces audiences to three incredible characters who include Matt Damon as Sir Jean de Carrouges, Adam Driver as Jacques Le Gris and Jodie Comer as Lady Marguerite de Carrouges. And all three are stunning in their roles. Adapting a screenplay written by Nicole Holofcener, Ben Affleck and Matt Damon, Scott utilizes a unique three-person perspective to reveal the story of this shocking and powerful narrative. Reminiscent of Kurosawa’s Rashomon, The Last Duel reveals the detail of its story in three chapters which showcase the brutal assault of Marguerite de Carrouges and the summary trial that leads to the famed duel. A duel that would be fought to the death and whose results would change the medical world forever. This structure and setting allow Scott to go to work and together with this terrific calibre of performers he crafts an engaging and thoroughly intense story that doesn’t let up for a moment.

Scott is truly at the top of his game with his work on The Last Duel and chapter by chapter, layer by layer, the complicated story of The Last Duel is revealed and you never know what’s going to happen next. The use of the characters three unique perspectives allows audiences to experience the story from different points of view and gives the performers a wonderful range in which to play and interpret the actions of the story. This narrative device of showcasing the plot from three different perspectives is incredibly clever on Scott’s behalf and allows him to draw out the tension of the film’s heated story.

Standing front and centre in The Last Duel is Hollywood superstar Matt Damon, and this is a performance and character, unlike anything we’ve ever seen him portray before. As French knight Sir Jean de Carrouges, Damon cuts a dark and intimidating figure. Best described as a warrior through and through, Carrouges is a brute of a man who is prone to a stern sense of self-righteousness and self-aggrandising behaviour. Obsessed with his standing as a knight and demanding of the respect that his title bestows upon him, he is a man who is quick to temper and who does not dwell on ideas of compassion. Damon’s performance and actions are incredibly blunt within the film and he portrays Carrouges as a man who shares a very direct relationship with his wife and whose actions are not those of a lover, but rather those of a scarred and battle-tested warrior.

On the other side of Damon as the villain of the piece is Adam Driver as Jacques Le Gris, a one time friend to Carrouges who finds himself in service and favour to their liege lord ahead of his friend, and who quickly becomes a thorn in his side. An ardent womanizer and cad, Le Gris has a taste for the finer things in life and his ‘man of the world’ vitality mark him out as a man apart in these times. Like Carrouges he’s a battle-tested warrior and soon his sights turn to his former friend’s pretty young wife, whom he desires to covet above all else. Driver gives an incredibly complex performance as Le Gris and his status as a monster is revealed gradually and he certainly presents a sinister and scary figure.

Providing a key level of support within The Last Duel and hastening the actions of the lead characters is Ben Affleck as Count Pierre d’Alençon, the liege lord to whom Carrouges and Le Gris must swear their allegiance to and he’s a deviantly despicable character. Possessing absolute power in the province of Normandy, Affleck’s Count Pierre is a wholly debauched narcissist who only exists to serve his basest desires and his playboy existence of women and wine make him a wholly scandalous character. As Count Pierre, Affleck steals every scene in which he appears and there’s a good dose of bawdy comedy thanks to his extremely over-the-top performance which gives The Last Duel a sense of levity and produces some unintentional laughs from the audience.

Bringing everything together in The Last Duel is the film’s primary female protagonist and heroine of the story Lady Marguerite de Carrouge who is portrayed in an incredible performance by the immensely talented Jodie Comer. Let it be heard that Comer is just flawless in her role in The Last Duel and her commitment to the character and her actions pay a grand sense of tribute to the true historical character of Marguerite and the courage she faced in the horrific ordeal that she had to overcome. Comer gives an incredibly complex and shifting performance as Marguerite due to the film’s unique sense of perspective storytelling and it isn’t until the final act where we see her come into her own within the story and it’s here that Comer excels in the part and completely takes control of the film.

Comer gives an incredibly layered performance as Marguerite and we get to see many different sides to her character. A dutiful wife who wants to become a doting mother, Comer is an exquisitely beautiful creature and perfectly compliments the gorgeous costumes that she is clothed in by Academy Award-winning costume designer Janty Yates. Comer is true to the historical character of Marguerite and portrays her as an educated, well-read and thoughtful woman who is dutiful and clever in the running of her estates and she makes a profound mark on the audience with her performance. The Last Duel is truly Jodie Comer’s movie and she is nothing short of exceptional, presenting the true story of a woman who survived a terrorifying event and who fought tooth and nail to claim back her respect and see justice done.

The Last Duel is a film that does not sugarcoat its raw story and Scott produces a picture that is not some fantasy of the Middle Ages but is instead a true representation of the gritty and dangerous reality of what life would have been like in the period. While modern audiences may have their own ideas of the concept of chivalry here it is merely an idea that is spoken, but certainly not practised and the reality of life is far harsher and colder. This is a time when power was exerted by the blade of a sword and Scott builds out a complex and interesting narrative shaped by political intrigue and an archaic legal process. Themes of justice and the truth do prevail within the story, but they are not delivered until The Last Duel’s shocking third act and are very much in keeping with the time period.

Alongside its rousing sense of historical drama, The Last Duel also brings to the screen the sheer brutality of medieval warfare. And Scott holds nothing back as the carnage reaches the silver screen. There is nothing pretty or stylized about the combat of The Last Duel, instead, there is just the hard-hitting ferocity of bladed combat in full force. Think of two rugby scrums smashing into one another with each man holding a five-foot razor blade in their hands while they savagely have at one another. This is The Last Duel in action and the final fight between Damon and Driver as Carrouge and Le Gris is of two animals going at each other with the choke chains pulled off. It’s bloody and dirty as they slam into each other and the idea of knightly honour is completely left off this battlefield. It’s a raw spectacle to watch and your heart will be in your throat the whole time as you clamber to see who comes out on top and what fate awaits for Marguerite de Carrouge.

The Last Duel is an exceptional piece of cinema built by a master craftsman at the top of his game. Colossal in scope, this is a film that honours the true history of its narrative and presents the truth of an incredibly courageous woman who shook a country to its knees in her quest for absolute justice. The Last Duel is a cinematic feat of pure amazement and should be seen on the big screen for maximum impact.

Image: 20th Century Studios

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Check out the brand new behind-the-scenes featurette below:

Taking audiences inside the making of The Last Duel, this featurette contains never before seen behind the scenes footage, numerous b-roll, on-set photography and Scott’s on personal hand-drawn storyboards and you truly get a taste of the scale and scope that awaits audiences in The Last Duel.

Of his process as a filmmaker, Scott commented saying, “for me every scene has to have a stake. Large or small. The message is simple, what do I want the audience to walk away knowing.”

This insight into Scott’s process as a filmmaker and the attention to detail that he brings to the craft is sure to intrigue fans, and it’s incredible to see such a wealth of footage play out before us.

Here’s the official synopsis:

In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

The Last Duel will arrive in cinemas on October 21.

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While appearing on The Tonight Show with Jimmy Fallon to promote his new drama Stillwater, Damon opened up about what it was like to re-team with childhood best friend Ben Affleck to pen the script for The Last Duel. The first film they’ve written since their 1997 Oscar-winning feature Good Will Hunting.

“It’s the first film we’ve written in like twenty-five years or something. We wrote it with another great writer called Nicole Nicole Holofcener. It’s gonna come out later in the year but it’s about, it’s about the last sanctioned duel in medieval France between these two knights, one of whom accused the other of raping his wife, and they fought to the death and it’s all based on this history book that we read. So we adapted that, but we saw it as a story of perspective, and so Ben and I wrote the male perspective and Nicole wrote the female perspective. And we’re really excited about it, Ridley Scott is directed it,” said Damon.

Adapted from the best selling book The Last Duel: A True Story of Trial by Combat in Medieval France by Eric Jager, The Last Duel is a gripping tale of passionate love, a shocking crime, a hard-fought path to justice and a brutal vengeance. In short, it’s an absolutely epic story of true historical fiction, and from what we’ve seen from the first trailer we can tell you that we’re well excited to see Ridley Scott’s vision for this project brought to the big screen.

The first trailer made for an epic watch and Damon’s enthusiasm for the project is very clear and we can’t wait to see more from the film.

Watch the full clip below:

The Last Duel will arrive in cinemas on October 14.

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Watch the full trailer for The Last Duel below:

Here’s the official synopsis:

In 14th-century France, knight Jean de Carrouges (Matt Damon) and his squire Jacques Le Gris (Adam Driver) are ordered to fight to the death after Carrouges accuses Le Gris of raping his wife.

Based on the true historical combat that occurred in Paris, France on 29 December 1386, The Last Duel, which is adapted from the gripping true story by Eric Jager, and which was adapted to the big screen by Matt Damon, Ben Affleck and Nicole Holofcener makes for a compelling and epic story, and audiences are sure to thrilled and ensnared by this ultimate tale of medieval combat.

Scott, who is revered as a master cinematic world builder, and who has entertained with fantastical films that include Alien, Gladiator, Kingdom of Heaven and All The Money In The World has crafted something utterly superb in The Last Duel, and the scale, scope and detail of this project is sure to entrance audiences.

Matt Damon and Jodie Comer star as Jean de Carrouges and his wife Marguerite in the film and the pair absolutely stun with their performances in this first trailer, and their chemistry together is sure to keep audiences enthralled and enchanted. Added to that is the dark energy of Adam Driver as Jacques Le Gris, Carrouges’ squire and court favourite, who commits a terrible crime and who almost gets away with it until Carrouges demanded a battle to the death to ensure God’s true justice. Finally, Ben Affleck brings the story together as Count Pierre d’Alençon, Carrouges and Le Gris overlord who adjudicates the first arguments between these two knights and sets in motion the events for a bloody showdown.

The Last Duel is a film of ultimate cinematic quality that needs to be seen on the big screen and is also a full-circle moment for Scott as it brings him back to his very first film with The Duellists which was released in 1977. It’s an utterly epic work and I cannot wait to see this arrive on the big screen.

The Last Duel is a film that I can barely contain my excitement for and I cannot wait to see the action of this new project unfold when it arrives on the big screen on October 14. Prepare thyself for the ultimate tale of love, honour and revenge with this one.

Images: 20th Century Fox

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Based on the true story of the visionary American car designer Carroll Shelby (Damon) and the fearless British-born driver Ken Miles (Bale), who together battled corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

With Ford v Ferrari, director James Mangold (Logan, Walk The Line) puts everything up on the big screen here and the result is a film of incredible vision and scope as he tells the ultimate story of David vs Goliath. Placing his audience right on the front line of the race tracks of the mid-1960s, Mangold tells a gripping story of two men, intrepid race car designer Carroll Shelby (Matt Damon) and maverick driver Ken Miles (Christian Bale) as they did the impossible and tried to dethrone Ferrari as the king of Le Mans. With his film, Mangold captures the very essence of the macho competitiveness of the track and it makes for one hell of a rush. His work on Ford v Ferrari is a love letter to the power of racing and those who give their lives to proving that there’s no limit to how fast you can go.

In making this film it’s clear that Mangold had one burning vision: to place his audience right at the heart of the action. And he does just that. The film’s racing scenes are sharp, swift and charged with adrenaline, and Mangold and cinematographer Phedon Papamichael place the action right at the heart of the car chases and crank up the acceleration. Whether it’s the arching corners of Daytona or the power of the Mulsanne Straight, which Christian Bale’s Ken Miles repeatedly guns down, again and again, Mangold absolutely goes for it and there are plenty of moments where you’ll be holding your breath. I can’t remember a piece of cinema that captures the essence of the racing experience quite like Ford v Ferrari, and the throttle doesn’t let up for a moment.

Mangold has assembled one hell of a talented cast for this one and leading the pack is superstar Matt Damon as Carroll Shelby, the legendary automotive designer who was charged to achieve the impossible. Damon’s Shelby is a straight-up Cowboy, and the actor nails Shelby’s iconic Texas twang and is an absolute force of nature here. Comprised of plenty of spark and compelling charisma, Shelby is full-on in his approach to racing and after being tasked by the deuce himself, Henry Ford II (Tracy Letts) to beat Ferrari on the Le Mans track he goes for it with everything he’s got. Damon has a lot of fun in the role of Shelby and he jives well with Bale’s Miles and their pairing makes for one amazing dream team.

Placed directly in the driver’s seat of Ford v Ferrari is revered thespian Christian Bale as Ken Miles, a WWII veteran and maverick driver who isn’t one to play by the rules and who likes to do things his own way. A mercurial character in every sense of the word, Miles is a god behind the wheel, and his obsession with speed and a need for the constant pursuit of excellence makes him Shelby’s choice to take on the Le Mans track. Bale once again morphs his personal character into that of Miles and he’s committed to the part. Not only does he get some time behind the wheel here, but he brings to life the concentration and force of will that makes a champion. He works well beside Damon and you’re constantly smiling thanks to his antics both on and off the track.

With Damon’s Shelby as the brains and Bale’s Miles as the action, the vision of Ford v Ferrari arrives on screen in the form of Jon Bernthal’s Lee Iacocca, a sharp-suited, silver-tongued Ford executive who has a vision and who sees Shelby and Miles as Ford’s way to defeat Ferrari head on at Le Mans. In the role of Iacocca, Bernthal turns in a straight-up cool performance and his slick-talking style gives the film plenty of energy. Bernthal is very much the middle man of the film and acts as the go-between between Shelby and Ford Motors. While he’s got his own battles to fight in the hallways of Ford, he’s the ally that Shelby and Miles need to win this historic race and he does a damn fine job here with his performance.

In terms of its style, Ford v Ferrari is a true underdog story of mythic proportions and Mangold captures the essence of this on-screen. He showcases the impossibility of the task ahead of Shelby and Miles in just how the hell can these guys beat Ferrari with a Ford. Mangold takes us through all the steps as these men build out their plan of attack and step by step, through creativity and ingenuity build up a team and a car, in the now-famous Ford GT40, to take on the track and beat Ferrari at their own game. Gear heads will love the detail that Mangold goes into here within the film, as he takes audiences behind the scenes of how this grand car was conceived and then built to win.

Alongside its gripping tale of motorized competition, Ford v Ferrari also has some serious style to it, and Mangold revels in letting this shine through. Set during the zenith of the 1960s, Ford v Ferrari is packed out with the uber macho cool of the decade and this is recognized through everything from production design and wardrobe, along with the film’s thumping soundtrack which is filled out with classic tunes from the era. All of it builds up a portrait that is easy to lose yourself in and amps up the film’s considerable drama and the action that unfurls from there.

But alongside it’s pumping action scenes and slick production style, Ford v Ferreri is ultimately the story of friendship and brotherhood that is shared between two men. Through their competitive spirit and desire to win, Shelby and Miles form a unique partnership and pairing in this film, and Mangold’s story examines how the two of them came together to be champions and the friendship that is at the heart of this. Both of these men truly trust each other and are willing to go all the way to prove that they can indeed win out in the end and Mangold’s film is a testament to the power that we get when we trust in others and work together for a greater goal.

Ford v Ferrari is filmmaking on a whole other level and those who witness it need to view it on the biggest screen possible. This is an incredible piece of cinema to behold and from its direction to performances, style and on-the-edge track action race scenes, all of it will spin you around for one amazing lap.

Image: Ford v Ferrari

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Watch the edgy first trailer below:

Here’s the official synopsis:

Based on the true story of the visionary American car designer Carroll Shelby (Damon) and the fearless British-born driver Ken Miles (Bale), who together battled corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

Director James Mangold (Logan, Walk The Line) is returning to cinemas and I couldn’t be more happier with his latest project in the form of the uber macho, ultra cool tale of man and automobile in Ford v. Ferrari, and the colossal story of two mavericks: British racer Ken Miles (Christian Bale) and American designer Carroll Shelby (Matt Damon) who went to war against Ferrari on the legendary track of Le Mans to prove who was top dog in the world of racing.

Set to the tune of The Rolling Stones quintessentially cool song ‘Gimme Shelter’, this first trailer for Ford v. Ferrari buzzes with energy and really gets your heart going thanks to Mangold’s magnificent direction, two stellar performances from his lead stars and a whole lot of track pushing racing!

Keeping to the same style that he first cemented with Logan, Mangold has kept everything in camera and all of the danger on the track is 100% real! With dynamic cinematography and plenty of outlandish wrecks, Mangold wants to give audiences the experience of just how dangerous and addictive the track of Le Mans is and from what I’ve seen here the director has truly succeeded.

Ford v. Ferrari is cinema that’s straight out on the edge and you can prepare yourself for one hell of an adrenaline charged time when this epic piece of sports history comes rolling into cinemas on November 14.

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