20th Century Fox
The news comes in the wake of the studio halting production on the Patty Hearst biopic that Mangold was attached to direct. The Logan director is also set to direct The Force for 20th Century Fox which has a release date of March 1, 2019. No word on whether the Ford vs. Ferrari pic or The Force, the David Mamet scripted take on Don Winslow’s crime thriller, is Mangold’s next feature.
Fox previously had rights to the A.J. Baime book Go Like Hell: Ford, Ferrari, And Their Battle for Speed And Glory At Le Mans. Those rights have since moved to Legendary, who is developing the book into a TV series. This film would be a new take on the true story, developed by Mangold.
Based on a true story, Untitled Ford vs. Ferrari will follow an eccentric, determined team of American engineers and designers, led by automotive visionary Carroll Shelby and his British driver, Ken Miles, who are dispatched by Henry Ford II with the mission of building from scratch an entirely new race car with the potential to finally defeat the perennially dominant Ferrari at the 1966 Le Mans World Championship.
Chernin Entertainment is producing the untitled Ford vs. Ferrari pic. Mangold is developing along with screenwriters Jez and John-Henry Butterworth. No cast announcements at this time. Variety originally broke the news on the project.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.