Ever wonder if life is just an endless loop of the same daily grind until we inevitably crash and burn? Yeah, me too. I'm Jack Superblack, your not-so-enthusiastic racing correspondent, beginning each day at the starting line with the end game always in sight: death.
So, let's talk about Benny "Fastlane" Franklin, a man fast-tracked to a dead-end. In "FerrariArt," a film about his hilariously tragic existence, Benny is portrayed torturing himself to achieve professional highs while his personal life burns rubber to crashville. Just try not to choke on your stale popcorn.
Benny’s race—directed by the infamous Mike "Overdrive" Mann—features Formula 1 cars held together by the sheer willpower of duct tape and sponsor stickers. Meanwhile, at home, Benny faces domestic hurricanes, with his wife portrayed by someone indistinguishable from every soap opera star ever. It's a laugh, truly.
The film’s aesthetic is like sticking a Renaissance painting into a blender with a fast-food commercial. On one side, you've got Benny, brooding in the shadows like he's auditioning for a spot on the Sistine Chapel ceiling. On the other, race cars so brightly lit they could signal aliens.
And let's not forget "The Bullet," another gem where Benny moonlights as a hit man. Because why not accelerate your midlife crisis with a side of criminal activity? Both flicks show Benny aiming for the finish line, but it feels more like he's just running laps around the local funeral parlor.
So here we go again, readers. I'm speeding off towards a finish line that looks suspiciously like my final destination. And let's face it: in the race of life, we are all just waiting for our engines to blow up. In the end, the winner is just the one who dies alone with the most toys, right?
Based on the original article "‘Ferrari’ and ‘The Killer’: 1 Cinematographer, 2 Very Different Looks".
