Maserati: The Brothers (2026)

Maserati: The Brothers Review: Legacy, Rivalry & Italian Grit

Bobby Moresco's Maserati: The Brothers arrives with a premise that screams Oscar bait: a multi-decade saga of the Maserati family, the roar of early Grand Prix racing, and a supporting cast that reads like a Hollywood hall of fame. Al Pacino, Anthony Hopkins, and Andy Garcia share screen time with rising Italian stars Michele Morrone, Salvatore Esposito, and Leonardo Ferrari as the five Maserati siblings. On paper, it's a prestige historical drama with all cylinders firing. Whether the film actually crosses the finish line with elegance or sputters under its own weight is the question.

Direction and Scope

Moresco, best known for co-writing Crash (2004), hasn't directed a feature since the little-seen Lombardi (2010). That 16-year gap raises eyebrows. The script by Stefano Torrisi attempts to compress over 50 years of industrial history — from a Bologna workshop in 1914 to the boardroom battles with Enzo Ferrari and Ferruccio Lamborghini — into a single narrative. The result feels like a highlights reel rather than a deep dive. Key transitions (the shift from racing to road cars, the Orsi family takeover, the Citroën era) are signposted with title cards instead of dramatized. The racing sequences, while visceral, are too few to satisfy gearheads, and the boardroom intrigue lacks the sharp dialogue of The Social Network or Ford v Ferrari. Moresco's direction is competent but rarely inspired; he favors static compositions over kinetic energy, which is a missed opportunity for a story built on speed.

Performances: A Heavyweight Ensemble

The cast is the film's undeniable asset. Pacino as Vincenzo Vaccaro (a fictionalized financier?) chews scenery with his trademark intensity, though the character feels like a composite designed to give him a meaty role. Hopkins brings gravitas to Luca Antonelli, a mentor figure whose wisdom feels scripted rather than earned. Garcia's Mr. Rossini is a suave antagonist, but his motivations remain opaque. The real discovery is the Italian quartet: Morrone's Alfieri anchors the film with quiet steel, Esposito's Bindo simmers with resentment, Ferrari's Ernesto provides technical heart, and Bassi and Pacchiani round out the brotherhood convincingly. Jessica Alba's Sandra, a journalist love interest, is underwritten — a familiar trap for female characters in male-driven biopics. When the brothers argue over engineering philosophy or family loyalty, the film crackles. When it cuts to the American stars pontificating, momentum stalls.

Historical Drama vs. Cinematic Engine

Maserati: The Brothers wants to be both a family tragedy and a celebration of Italian engineering. It succeeds intermittently. The production design — workshops, wind tunnels, period-perfect Tipo 26s — is impeccable. The score blends operatic strings with mechanical rhythms, a nice touch. Yet the narrative struggles to find a central conflict beyond "brothers disagree." The rivalry with Ferrari and Lamborghini is relegated to background newsreels; we never see Enzo or Ferruccio as characters. That choice keeps focus on the Maseratis but robs the story of external stakes. The third act rushes through the 1960s decline and revival, leaving little room for reflection. For automotive aficionados, the film may feel like a glossy brochure; for general audiences, a handsome but hollow costume drama.

Who Will Enjoy Maserati: The Brothers?

Fans of House of Gucci or The Founder will appreciate the dynastic infighting and period detail. Car enthusiasts may leave wanting more track time and technical insight. If you're drawn by the cast, you'll get your money's worth in star power, even if the material doesn't always match their caliber. Approach as a Sunday-drive period piece rather than a high-octane thriller, and the ride is pleasant enough.