F1

Director
Joseph Kosinski

Starring
Brad Pitt
Damson Idris
Kerry Condon
Javier Bardem

Three decades after a career-ending crash, race car driver Sonny Hayes [Pitt] drifts from tournament to tournament, seemingly unfulfilled. However, when he’s approached by friend and former driver Ruben Cervantes [Bardem], Hayes has another shot at taking a team to podium glory in Formula 1 racing. However, due to his age, his unorthodox methods, and a seeming incompatibility with his teammate, Joshua Pearce [Idris], stepping back into the driving seat isn’t as straightforward as he may have thought.

Right from the outset, I knew this film was going to garner praise for its technical accomplishments. It is undeniably kinetic and gripping filmmaking, paired with superb sound design and editing; and while Hans Zimmer could score this in his sleep, he still manages to keep it high octane and compelling, and possibly most importantly, complementary with the roaring race-day sounds and needle drops. Watching it in IMAX is a genuine treat and will both delight and amaze in equal measure. The CGI is seamless, the support from the FIA means unparalleled access and insight, and the budget is constantly on display with the lush cinematography we’ve come to expect from Claudio Miranda. But without a heart, F1 is all flash and no substance.

Yes, the visuals are electrifying and the audio elements are enthralling but the storytelling is so utterly bare bones and uninspired. Crammed wall-to-wall with cliches which rob most of the suspense, this film isn’t really populated by humans, instead we get placeholder avatars posing as people with actual drives and emotions. And, admittedly, it’s genuinely difficult to discuss performances without sounding like I’m just slating the actors, rather than the scripts they’ve been given. Brad Pitt is in spectacular shape and commits wholly to the role, Damson Idris has all the charm, charisma and enthusiasm one would hope for in a burgeoning talent trying to make his mark on the sport, and Javier Bardem (while used sparingly) lights up the room every time he’s on-screen. But when it comes to the female characters, Kosinski’s track record pushes to the fore. Much like Tron: Legacy, Oblivion, and Top Gun: Maverick incredibly talented actors are lumbered with eye-rollingly two dimensional motivations and dialogue. With Kerry Condon doing her best but eventually being struck from “the first female technical director” down to “old man’s love interest.” And Callie Cooke as race engineer Jodie is as cookie-cutter as they get, with the film actively expecting a pat on the back for keeping her in frame, even though her arc of confidence starts with “I’m clumsy and a liability” before ending up at “I’m respected by my teammates.” And these consolatory efforts all feel just so agonisingly predictable and outdated.

So, if the film is a technical marvel but ultimately a soulless shell, how is it as a celebration of racing? Well, despite its wide international appeal, F1 has struggled to really take root in the United States. Subsequently, this film feels like a conscious effort to rectify that. That means, it’s also replete with heavy handed exposition in the form of race commentary that bluntly spells everything out – i.e. the Ted Lasso approach. And while that on its own wouldn’t be completely unforgivable, it’s also paired with a bravado that is likely going to piss off a lot of F1 fans. See, the film’s primary takeaway is that American machismo and risk taking is the answer to winning. Which is monumentally insulting considering a driver from the United States hasn’t won since the 70s. Again, not an impossible narrative to sell, but without strong scriptwriting abilities, you just end up with a constant barrage of generic setups, conflicts, and resolutions.

As a movie, F1 is, first and foremost, a thrill ride that mercifully navigates its two and a half hour runtime quickly and smoothly. Unfortunately the effort behind the sensory spectacle is at the expense of a unique and engaging story. And without that, any impact is hollow and surprisingly patronising. If you’re somehow able to separate yourself from the complete lack of a captivating tale, you’ll definitely get something out of this release. But, even as a mediocre feature, something like Gran Turismo has a better, more absorbing story. And, in truth, you’re better off with 2013’s Rush for your F1 kick.

Release Date:
27 June 2025

The Scene To Look Out For:
Every character on-screen is a first draft stand-in. And any traits are lifted straight from the napkin they were scrawled on. Sonny is old school and has brash lo-fi solutions for everything, and that never really changes. One key example is the remarkably obsolescent montage of rudimentary training (such as running the track and throwing tennis balls for coordination), in stark contrast to the heavily-digitised contemporary training programs. Which was pretty defunct when it was dredged up for Armageddon with that arrogant “we’re good ol’ boys, we don’t need fancy training”, and should have stayed where it belongs: i.e. Rocky IV. My issue isn’t necessarily that Sonny has an antiquated training regimen, it’s that F1 is a very science-driven sport and to simply circumvent that with “Nah, I’ll just use confidence and feel it out” shows a clear misalignment.

Notable Characters:
This film is largely at odds with who it wants to focus on. There should be no illusion that this is Sonny’s story and he will strive for glory, even when supporting his teammate. And while the half-hearted attempt to use Sonny’s role as springboard for Pearce is appreciated, it never goes far enough to earn that. Coming back to that predictability I mentioned earlier, every time we think there will be a subversive development, the script places its hand on your shoulder and whispers “Not so fast, just keep watching.” Only to then serve up the most dull, formulaic scenarios and outcomes. Truly the epitome of lazy writing.

Highlighted Quote:
“Formula 1 is a team sport, always was, and maybe that’s why you weren’t cut out for it.”

In A Few Words:
“Come for the pageantry and exhibition but don’t expect anything underneath the surface.”

Total Score: 2/5

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