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2019 Bentley Continental GT First Drive Review | A grand tourer learns to dance

The Austrian Alps are a curious venue to show off that great hunter of the highways, the Bentley Continental GT. With deep green forests and soaring thrusts of exposed rock, the Alps are one of those few places where the natural world still reigns supreme. Humanity isn't going to change this place much. You can forget about six-lane freeways blasted through rock — the only way to get around is on narrow, twin lanes. True to its name, the coupe is perhaps the truest grand touring car on the market — comfort happily married to speed. I once logged a personal best time between New York City and Boston in a base GT, despite a pounding nighttime rain. Even that miserable East Coast route felt easy in the GT, which eats through highway miles in a peculiarly relentless fashion. It was born for distance. This is our first drive of the new, third-generation car, which won't be sold in North America for another year, at a starting price of $214,600. We've been told it is a changed machine — a GT still, but with more nimbleness. And now we're about to find out, having left behind quaint Austrian villages for a steep mountain road that switchbacks up toward the clouds. It's everything you hope and dream when you fantasize about the Alps. Before me is a straightaway interrupted by a quick left-right bend and an uphill switchback. A small twist of hands on the nicely weighted steering wheel and the Bentley jukes through the left-right fluidly; no need to brush the brakes until we're right up to the hairpin. Then a firm push on the stoppers and a full lock of the steering wheel and — listen to that! — tire noise from the 21-inch Pirellis as we get back on the gas early. The car stays remarkably flat despite the camber of the turn. I snap open my hands and flat-foot the accelerator. Another hairpin beckons just beyond. And so it goes, the Conti welcoming a full-throated uphill attack. We get to the top and begin the fall back down the mountain, which is even more illuminating. This is the model with the W12 — the only one available at launch, notorious for carrying too much weight in its nose. Take a previous generation on a tight downhill route and you wrestle the grille through the turns, giving up entry speed to mitigate inevitable front-end push. It was a point-and-shoot car, relying on good brakes and ample power to make up lost time through the turns. This new generation is a momentum machine. There is a newfound rhythm and flow. It is deft and it is nimble.

A car writer's year in new vehicles [w/video]

Christmas is only a week away. The New Year is just around the corner. As 2014 draws to a close, I'm not the only one taking stock of the year that's we're almost shut of. Depending on who you are or what you do, the end of the year can bring to mind tax bills, school semesters or scheduling dental appointments. For me, for the last eight or nine years, at least a small part of this transitory time is occupied with recalling the cars I've driven over the preceding 12 months. Since I started writing about and reviewing cars in 2006, I've done an uneven job of tracking every vehicle I've been in, each year. Last year I made a resolution to be better about it, and the result is a spreadsheet with model names, dates, notes and some basic facts and figures. Armed with this basic data and a yen for year-end stories, I figured it would be interesting to parse the figures and quantify my year in cars in a way I'd never done before. The results are, well, they're a little bizarre, honestly. And I think they'll affect how I approach this gig in 2015. {C} My tally for the year is 68 cars, as of this writing. Before the calendar flips to 2015 it'll be as high as 73. Let me give you a tiny bit of background about how automotive journalists typically get cars to test. There are basically two pools of vehicles I drive on a regular basis: media fleet vehicles and those available on "first drive" programs. The latter group is pretty self-explanatory. Journalists are gathered in one location (sometimes local, sometimes far-flung) with a new model(s), there's usually a day of driving, then we report back to you with our impressions. Media fleet vehicles are different. These are distributed to publications and individual journalists far and wide, and the test period goes from a few days to a week or more. Whereas first drives almost always result in a piece of review content, fleet loans only sometimes do. Other times they serve to give context about brands, segments, technology and the like, to editors and writers. So, adding up the loans I've had out of the press fleet and things I've driven at events, my tally for the year is 68 cars, as of this writing. Before the calendar flips to 2015, it'll be as high as 73. At one of the buff books like Car and Driver or Motor Trend, reviewers might rotate through five cars a week, or more. I know that number sounds high, but as best I can tell, it's pretty average for the full-time professionals in this business.

Bentley designers talk about Intelligent Details

Bentley Director of Design Luc Donckerwolke certainly thinks highly of the vehicles he creates. "We are the only ones that offer performance compatible with luxury," he says in Intelligent Details, a new short documentary commissioned by the brand. While that might be a bit hyperbolic (the Mercedes-Benz S65 AMG says hello), the company does have a long history of blending elegant interiors, sophisticated exteriors and powerful engines. The film examines how crafting that works in the modern world.
Intelligent Details stars Donckerwolke and his colleague Head of Exterior Design Sang Yup Lee as they ride in two contrasting Bentley Mulsannes through New York City. They talk about what makes a Bentley special, but their biggest focus is their belief that automotive interiors can no longer by "a closed cocoon," according to Donckerwolke. It has to transform into a living space thanks to the brand's interior infotainment technology.
The message might be self-aggrandizing, but the short film itself is beautifully shot and edited with some loving looks at the city. The way it was actually made could be the most surprising part of all. We don't want to spoil it here, but scroll down and watch the whole video to see.