F1 The Movie Review: Brad Pitt Leads A High-Speed, Crowd-Pleasing Adventure

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In late 2021, there was intense competition among Hollywood studios over a package that included director Joseph Kosinski, producer Jerry Bruckheimer, Brad Pitt, and Formula 1 racing. Eventually, Apple emerged victorious. Despite delays due to labor strikes, the movie has now been released in cinemas. Lately, attending the premiere with Tom Cruise has highlighted how this film, originally intended as a grand promotion for Formula 1, is attempting to rekindle the charm of “Maverick.

In the spirit of Tom Cruise considering a follow-up to his ’90s racing movie “Days of Thunder,” one might ponder what unique elements could be incorporated into this venture, given that the world of Formula 1 has already been explored in films like “F1 The Movie.” It appears they are borrowing ideas from the approach used in the sequel to “Top Gun.” In the movie, Brad Pitt portrays Sonny Hayes, a retired F1 driver who gets a fresh opportunity from his former foe-turned-ally Ruben Cervantes, played by Javier Bardem. Ruben’s racing team, Apex Grand Prix (AGPX), has never tasted victory and risks being seized by investors if they don’t win a race before the season ends. He enlists Sonny not only to help him win but also to demonstrate the finesse of racing to his novice protégé, Joshua Pearce (Damson Idris).

With the same director (Claudio Miranda), the same cinematographer, and the same writer (Ehren Kruger) as “Maverick”, there’s certainly a resemblance. However, the question remains: can “F1” stand on its own merit without the fanbase and nostalgia of an established, beloved predecessor?

Does the F stand for formulaic?

Firstly, let me acknowledge the positive aspects before delving into the possible reasons for the film’s flaws. “F1 The Movie” has been one of the most exhilarating cinematic experiences this year. The primary emphasis lies undoubtedly on the races, covering as it does the second half of an F1 season. The directors, Joseph Kosinski and Claudio Miranda, have a knack for making viewers feel as if they’re in the cockpit of a jet, much like in “Top Gun: Maverick.” They effectively use strategic positioning, appropriate lenses, and bold movements to turn the intricate dance between all the cars into an awe-inspiring and captivating spectacle. This is particularly noticeable when viewed in IMAX, where the entire film is displayed in the extended 1.9:1 aspect ratio instead of alternating between the taller IMAX frame and a wider scope one.

This film creates an intense, cinematic experience that emphasizes speed throughout. The action sequences are designed to convey swiftness, and this speedy approach extends even to simple expositional scenes or dialog exchanges. The editing is remarkably efficient, which was unexpected, and it eliminates pauses between lines of dialogue much like a rapid-fire YouTube video. As a result, the 156-minute running time seems shorter than anticipated. However, due to its quick pace and at times repetitive nature, it doesn’t always feel substantial or deeply impactful.

In the creation of “Top Gun: Maverick,” it wasn’t the actors’ fault if things didn’t go perfectly. Kosinski put Brad Pitt and Damson Idris through their paces in car scenes, enhancing realism and believability while ensuring they looked sharp for racing. However, looking good is just one part of the battle. On a scale from “Burn After Reading” comedic character to “Once Upon A Time… in Hollywood” Oscar winner, Pitt delivers a performance similar to Billy Beane from “Moneyball.” He infuses Sonny Hayes with enough movie star charisma to make the story shine. Javier Bardem and Kerry Condon (who portrays Kate McKenna, Sonny’s love interest and the first technical director of an F1 team) offer strong supporting performances and a palpable chemistry with Pitt. Idris also holds his own, but the film’s script doesn’t fully utilize their talents.

The film “Maverick” received its Oscar nomination for best adapted screenplay, but it seems that Ehren Kruger and a small team of collaborators were not present to bolster the ordinary elements of the script. (It’s hard not to notice Chris McQuarrie’s influence once again in holding this Tom Cruise-led production together.) When there isn’t a race scene, the dialogue between characters often comes off as them stating their underlying emotions loudly because they don’t have the opportunity for genuine dramatic interaction. Characters appear one-dimensional and underdeveloped, with the dialogue feeling more like shorthand from a leaner film, but here it just feels empty. There is some authenticity, to be certain — yet it’s insufficient to prevent the sensation that what you’re engrossed in is essentially an expensive, prolonged advertisement.

It feels like a giant ad for Formula 1 racing (or for Apple the brand)

In this film, the extensive collaboration and active participation by Formula 1 is not a mistake or flaw, but rather an essential aspect that adds authenticity and immersion for racing enthusiasts. With real-life champions like Lewis Hamilton making cameos and actual teams participating in the races, it certainly boosts the movie’s credibility as one of the greatest racing films ever made. However, while the abundance of corporate logos, sponsorships, and brand integration help make the movie feel more realistic, they can somewhat distract from Sonny’s repeated reminders for Joshua to shut out external distractions like social media and focus on racing. Ironically, the film itself portrays such a lively and comprehensive depiction of all the noise we should be ignoring!

Instead of focusing on Apple’s role, let’s shift our attention to the fact that this production is heavily influenced by Apple technology. In the space of five minutes, you’ll encounter numerous Mac Studio computers, Airpods Max headphones, and XDR Displays. Apple took an active part in this project, even designing custom cameras for the cockpit using components from the iPhone, such as chips and sensors. It might be easier to appreciate the characters and story if this film placed more emphasis on character development rather than promoting commercial interests that seem less concerned with exceptional storytelling compared to other aspects.

Ultimately, the engines’ noise overshadows any profound conversations regarding the blend of business and creativity. In terms of a film centering around speedy automobiles, it certainly lives up to its promise. However, those seeking something more substantial might be left feeling unsatisfied.

“F1” races into theaters on June 27. 

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2025-06-27 05:00