Adam Driver in Ferrari (Lorenzo Sisti/Neon)

It almost feels like an eternity since Michael Mann released a new film. After two initially labeled missteps (Miami Vice, 2006; Blackhat, 2015) and another tepidly received movie (Public Enemy, 2009), one might assume there wouldn’t be much excitement for Mann’s return, especially when the contemporary landscape no longer instantly succumbs to the kind of hypermasculine and violent action movies that distinguishes a director better known for his adult crime films. But think twice before believing Mann has become obsolete, even if his new film, a straightforward biopic about the former race car driver, entrepreneur, and founder behind the iconic automotive brand Ferrari, sounds too conventional to convince you otherwise.

Mann’s absence all these years has only increased the value of his work and respect for his legacy, thanks to a progressive celebration of his initially acclaimed films (Heat, The Insider, Collateral), the overlooked ones later recognized as influential artistic achievements (Thief, Manhunter), and those reappraised as misunderstood (such as the passionate defenses inspired by Miami Vice and also for Blackhat, especially after the release of the director’s cut). Ferrari appears at a crucial moment, just when generations of cinephiles have elevated him as an undisputed master. Fortunately, Mann takes the wheel of a fast, direct, and confident drama, driven with the same grip as the high-speed cars captured with methodical precision of pace and emotion.

The script barely sketches enough backstory for the cold and practical Enzo Ferrari (Adam Driver) to introduce him as a successful, ruthless innovator at the helm of an automotive company that allegedly creates the fastest cars in the world. It also promotes a team of race car drivers trained to win. As a businessman, he cannot afford any form of defeat, even when, after the death of one of his drivers during a racing test, he reminds the rest of his crew that they partake in a “lethal passion.”

When famous American actress Linda Christian (Sarah Gadon) accompanies one of the brand’s star drivers in a photograph, Enzo positions himself in between the pair. This may seem like the gesture of a confident Italian womanizer, but it is only a strategic move. He has positioned the other two so that the car’s Ferrari emblem next to them will appear prominently in the photo. Moments like these are enough for Mann to explain the nature of his protagonist and get straight to the juicy drama and exhilarating action. Driver has become the ideal actor to embody problematic and self-destructive men, to the point where it now seems like a comfort zone. However, one cannot imagine a more suitable casting choice.

The storyline focuses on the crucial events of 1957, a year after the death of Enzo’s Dino. The script portrays him at a significant crossroad where his private life and public image are about to crash and burn. Enzo’s company is on the brink of bankruptcy since he spends more than he earns. Meanwhile, his wife, Laura (Penélope Cruz), owns half of the shares in his company, and resents his spending nights away from their palazzo. Fierce and passionate, Laura greets her husband in her first scene by fearlessly shooting a gun at him—Cruz owns the movie with every appearance. Enzo’s only solace lies in moments shared with his lover Lina Lardi (a miscast Shailene Woodley), with whom he has an illegitimate son. Both women become aware of each other’s existence, setting the stage for considerable friction in their respective relationships with the man who has become the center of their lives.

Mann has crafted a biopic that plays against tropes and expectations, skipping buildup to go directly for the meaty payoffs. In that sense, he puts you in the middle of the road with engines at full throttle. To some extent, this is about the second act of a remarkable life that has been transformed into a feature film with no fillers.

Driver and Cruz are on fire together, rivaling the spectacular (and tragic) set pieces involving racing cars. It should be noted that the movie contains one of the best scenes you’ll see this year of a horrifying accident that combines admirable technical mastery with visceral, stomach-churning violence. It may not be enough to confirm an awaited second coming for Mann, but it demonstrates that the beloved director still knows how to reach the finish line to claim his laurels.