Raetsonwe Redundant and unnecessary.

Spidersecu Don't Believe the Hype

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Cheryl A clunky actioner with a handful of cool moments.

Lugo1989 What an incredible achievement considering that Grand Prix came out in 1966. The racing footage has not been surpassed to this day more that 50 years later which puts the film way ahead of its time. There were a few racing films with sometimes decent stories made over the years but the actual racing scenes never felt right or real. They definitely do here. It is absolutely exhilarating watching those cars speed down those classic race tracks such as Spa, Monza and Monaco. The drivers in those days were true gladiators and had to have much more between their legs than drivers nowadays. The sound of the cars and the entire film is fantastic as well. The story itself is not that great and some acting feels a bit wooden. It is enough to hold the film together and the real stars are those beasts of a car anyway.Essential film for every Formula 1 and racing fan. Try to watch it with really good headphones or great speakers, relax and fell the roar of the engines!

yawn-2 Grand Prix is ALWAYS slammed for what John Frankenheimer once called his choice to make a "Grand Hotel" picture rather than a "Test Pilot" picture, but that's got it all wrong. Except for length, this is one of the great date movies of all time: insane machines on the edge of disaster, men who makes the insane choice to go there with them, oodles of sexual politics and romance under great pressure, gorgeous...I mean GORGEOUS imagery of spectacularly beautiful places and a remarkable score to match, one of Jarre's most hummable in a long career of hummable orchestral scores. It is the most emotional movie about racing anyone is likely to make and it has been a source of sheer wonder to me why most critics dismiss it as "soap opera with gasoline" and the like. Maybe I should do a two-hour date movie cut...like almost all of the Cinerama roadshow pictures, it IS too long and that's it's one major failing. I first saw it over two nights on NBC about a million years ago; it's probably better that way. Play to the intermission, pick it up again the next night. Except for Yves Montand, who seems to have been incapable of giving anything less than an intriguing performance, this is not an actor's showcase by any means, but everyone's OK or better and the movie is really about extreme and exotic situations involving people, rather than about the people themselves. It's a snapshot of a particular moment in European racing history that has far more dramatic potential than today's Formula 1: obscenely dangerous cars and circuits, a pre-sponsorship economic model that meant few drivers made any real money (certainly nothing close to what the risks they took were worth) and a certain c'est la vie attitude about the safety of both drivers and spectators. Only the truly obsessed played this incredibly deadly game.Shot on 65 mm, it's probably always looked great, but on current Bluray/upscale/4K gear, it's just stunning. It quite literally looks like it was shot on top-tier digital last week. Because sports are a kind of news event, seeing the largely deceased male cast (and a great number of real drivers who later perished in crashes; the first recognizable face in the film is Lorenzo Bandini, who was killed at Monaco the following year) with this kind of visual immediacy is actually a bit disturbing. It's not like watching Citizen Kane; gorgeous as the current Bluray is, you never find yourself thinking "What's Joe Cotton doing alive?" You may very well have that thought about Jim Garner or Brian Bedford, as they look almost as if they are in a live feed from Monaco. "Le Mans" is (probably) the best racing film ever made for racing fans. Grand Prix is the best racing film ever made for everyone.

MoneyMagnet This movie could have been absolutely spectacular if only any energy at all had been put into the human side of the story. Any screenplay that turns James Garner into a sexless bore with hardly any screen time, has got something seriously wrong with it (really - he has an affair with another driver's wife and we don't even see so much as a kiss?) It certainly isn't the fault of the cast, who are all likable actors with very little to do or say off the track. I gradually came to care somewhat about the drivers' stories, but the screenplay worked mightily for 3 hours to make me NOT care. Still, anyone who follows car racing at all can't fail to feel the clichéd-yet-still-true drama of the final race at Monza. "Sarti morta..." Criticisms out of the way, the racing sequences really are all that and a bag of chips, as advertised. I actually own this movie on Blu Ray and despite the fact I don't think it is a great movie, will likely watch it again just for the racing. I only wish that there had been more story focused on the team owners and team politics and drivers being concerned about the track conditions, as I am a racing fan (Indycar) and those stories interest me more.

Robert J. Maxwell What a spectacle -- these bullet-shaped racing cars shooting ballistically along the straightaways in Monaco and elsewhere, engines buzzing like a swarm of enormous bees, popping from one frequency to another in quantum leaps as the drivers manipulate the clutch in their bowling shoes.Bowling shoes? Well, that's what they look like. We get to see a lot of them, and the driving gloves and helmets and wrenches and nuts that director Frankenheimer made sure to include in order to stage authenticity.The cast is impressive, from James Garner through Yves Montand to Toshiro Mifune. And the LADIES! Elegant blond Eva Marie Saint, stony and sluttish Jessica Walters, and a few glimpses of a stunning young Genevieve Page. Page is being flirted with by a happy-go-lucky young Italian driver. "Drink?" "I don't drink." "Smoke?" "I don't smoke." "Well -- what DO you do?" (She silently looks him up and down.) When you're that lucky, happiness follows as the night the day.Not all the dialog is clever. It has an elliptical quality, as if somebody had gotten Hemingway mixed up with Sartre. The non sequiturs emerge from the script clipped. "The truth is that I don't get lonely." "I don't follow you." "Don't you?" "Do you?" "What is existence?" "Only a pageant of illusions." Well, I made that last part up but you get the flavor.The personal lives of the drivers impinge on their professional activities to varying extents, but so what? If you're into racing, this is your kind of movie. The director steps wrong only a few times, mostly at the beginning, when the screen is filled with multiple images, sometimes of the same shot. It's dizzying, like looking in a store window filled with a hundred TV sets, all tuned to the same channel. But the location shooting is fine. There are no crummy special effects and of course no CGI's. Maurice Jarre has written a pleasant melody for the score.If I were more of an internal adrenalin addict I'd have given it an extra point. It's not at all a stupid movie. We don't have somebody shouting into Tony Curtis' ear, "Take him on the straightaway, Johnny!"