Aston Martin Debuts the Vantage for North America

It’s impossible to go 202 miles per hour on Manhattan’s Park Avenue (and you shouldn’t try) but that’s where Aston Martin’s opulent showroom is, just down the road from Ferrari. The cars follow the money, and the new Vantage that had its North American debut in New York this month carries a price tag of US$191,000.

Aston is aiming to produce “the definitive front-engine, rear-wheel drive sports car,” powered by a four-litre AMG-sourced twin-turbo V8 engine producing 655 horsepower and 590 pound-feet of torque. Shifting through an eight-speed ZF automatic gearbox (there’s no manual option), it can reach 60 mph in 3.4 seconds. The Vantage can be ordered now, with deliveries this summer.

In other words, the Vantage is a traditional supercar in an age of rapid electrification. There isn’t an auto company in the world that isn’t aware of what’s ahead. And according to Alex Long, who was in New York and heads product and market strategy for Aston, the company is collaborating with California-based Lucid on an electric Aston that will appear in 2026. They’re having the naming discussions now, but few details are available. Lucid, which fields the ultra-fast Air Sapphire , is a pioneer in developing lighter and smaller components for EVs.

The two-seat Vantage has a lot of overlap with the DB12 (a 2+2, meaning it has two decent sized seats in the front and two smaller ones in the back] and it’s a venerable name in the Aston Martin universe, going back 70 years. The new model has been greatly reworked, with modifications to the chassis, engine, body design (the grille is 30% larger), and an all-new interior and bespoke in-house infotainment system with the company’s first touchscreen. Horsepower is up 30% and the torque is up 15%.

The DB12, seen in convertible form, is a Vantage relative that offers 2+2 seating.
Jim Motavalli

Technical types can thrill to such revelations as “a stiffer-yet-lighter front engine cross brace for increased torsional rigidity and lateral stiffness between the front suspension towers,” as described by Aston Martin.

The new Vantage is indeed techy for an Aston Martin, and offers active vehicle dynamics, adaptive shock absorbers from Bilstein, and an electronic rear differential. There’s a launch control system that manages torque to keep the car planted when it takes off for the horizon.

“[Owner] Lawrence Stroll has made a huge investment in Aston Martin,” Long says. “He believes that in supercar positioning, we have to go all the way.” The Vantage on display was certainly gorgeous in eye-popping Podium Green, which has some blue in it. Apparently the tried-and-true but dark British Racing Green comes off as black in photographs. The vivid green contrasts with a neon-like Lime Essence stripe around the rocker panels and tail.

There was no driving component, but racing driver Darren Turner, a three-time Le Mans winner and an Aston Martin development driver, was on hand.

“I’ve been with the Vantage development program from the beginning,” Turner says. “Our aim with the driving modes [which include Sport, Sport Plus, and Track] was precision behind the wheel.” There’s no “comfort” mode—if you want to commute or buy groceries, you use Sport which, Turner says, “is not too hard on the suspension.”

Long says the Vantage is “practical” because it has a big trunk, but it’s young couples and empty-nesters who won’t mind the absence of a back seat. As for what’s under the hood, Aston’s customers are still thrilling to the sound of a V8 engine and are not pushing for an EV. But with a European ban on internal combustion by 2035, and similar directives in American states, EVs are inevitable under the Aston banner.

Inside the Vantage, with a new infotainment system.
Jim Motavalli

Meanwhile, Aston has other models coming. The ultra-exclusive Cosworth V12-powered Valkyrie (priced at up to US$3.5 million for the track AMR Pro version) will be replaced by the even-more-potent Valhalla at the end of this year. Only 999 Valhallas will be built. The 937-horsepower Valhalla, with an AMG V-8 and two electric motors, will be Aston’s first plug-in hybrid and priced around US$800,000. The Valkyrie was a huge hit in terms of garnering publicity for the brand, and the Valhalla will similarly serve. Just 150 Valkyrie coupes and 85 Spyders are being built, and production should be done by the end of 2024.

The DBX was an instant big seller for Aston
Jim Motavalli

Aston has put considerable effort recently into Formula One and GT racing, and there’s also the Vantage GT4 competition car, which (because of strict rules) shares about 80% of the road car’s structure and mechanicals. But the bonded aluminium chassis gains a custom roll cage.

Aston Martin sold 6,620 cars in 2023. When the company introduced its first SUV, the DBX, it quickly became the company’s runaway bestseller despite a high price tag, now at US$200,086. The DBX 707 (the number is the horsepower rating) ups the ante. SUV leadership is a common result among supercar enterprises that grit their teeth and build SUVs to fulfil consumer demand.

It may be a while before Aston Martin is an all-electric brand. Right now, it’s keeping the order books filled with AMG-powered supercars. But transition is ahead.

Even in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.

Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.

Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.

Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”

After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.

Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.

Aston Martin Debuts the Vantage for North America

Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.