There’s a lot of dramatic potential inherent in this kind of movie but F1 is less interested in developing new tracks than in doing the best it can with existing ones. Ehren Kruger’s by-the-numbers screenplay could have been churned out using AI – the film’s human element aspects are perfunctory and familiar and the narrative rarely veers from the expected trajectory. Those who see F1 shouldn’t expect any surprises or twists and the collaborative involvement of the FIA (the sports’ governing body) takes a lot of possibilities off the table. All that being said, director Joseph Kosinski delivers an experience on par with his earlier mega-hit, Top Gun: Maverick, without the benefit of nostalgia or Tom Cruise. The Grim Reaper’s hovering presence helps with the tension but F1 mostly delivers because of the easygoing charm of Brad Pitt, the energetic camerawork of Claudio Miranda, and the loud, intense score by Hans Zimmer. The movie often pushes the viewer to the point of sensory overload, and that’s where its strength lies. Good luck replicating that at home.
To the extent there’s a non-technical anchor grounding the story, it’s the antagonistic relationship between the two drivers who represent the ne’er-do-well Apex Grand Prix team (APXGP): over-the-hill veteran Sonny Hayes (Pitt) and up-and-coming Joshua Pearce (Damson Idris). Both could use Sinatra’s rendition of My Way as their theme song. Hayes is recruited by his old buddy, Ruben Cervantes (Javier Bardem), the current owner of APXGP, to come out of retirement and give Formula 1 racing one more chance. After initially demurring, Sonny has a change of heart and shows up with his megawatt smile, self-deprecating attitude, and cocky sense of self-assurance – all things that irritate Pearce, the team’s #1 driver. A rivalry develops, fueled by Sonny’s initial track failures. As board member Peter Banning (the always-oily Tobias Menzies) hovers like a vulture, Ruben begins doubting the sanity of his Hail Mary. Sonny might have been a potential star before a near-fatal accident, but that was 30 years ago. Meanwhile, as Sonny tries to build a rapport with the pit crew and other behind-the-scenes members of the team, his flirtations with the chief engineer, Kate McKenna (Kerry Condon), heat up.
It’s a credit to both Pitt and Damson Idris that the fractious relationship between Sonny and Joshua has the force and immediacy it does given the hackneyed nature of the material. Their chemistry transcends the thinness of what’s on the written page. Likewise, there’s an easygoing camaraderie between Sonny and Ruben and genuine sparks between the will-they-or-won’t-they pair of Sonny and Kate. I appreciated that the movie keeps the romantic elements mostly in the background. It adds a dash of flavor without interfering.
Unsurprisingly, F1 shines during the action sequences. As is often the case with racing movies, the events themselves aren’t cinematic (given the length associated with races) but the crashes are. Kosinski’s approach is to home in on big moments, using a variety of camera angles and expert editing techniques to keep the viewer engaged. He also leans heavily on Zimmer’s score, which is suitably overblown for the material, helping to top off the film’s adrenaline-and-testosterone cocktail.
In terms of recent racing movies, I’d put this one a slight notch below James Mangold’s 2019 Ford v. Ferrari, but at least on par with some of the other high-profile efforts like Ron Howard’s 2013 Rush. The effectiveness of the film’s overall aesthetic cannot be understated: what F1 lacks in narrative development it more than compensates for with its thrill-ride aspects. Watching the film, you may not believe you’re in a racing car but you will feel like you’re doing more than passively sitting in a theater seat. [Berardinelli's rating: 3 stars out of 4]
Labels: action, auto-racing, Brad Pitt, drama, sport
IMDb 76/100
MetaCritic (critics=68, viewers=75)
RottenTomatoes (critics=82, viewers=97)
Blu-ray
James Berardinelli's original review
Comment by FB Friend Miki Tokola:
While I agree it was an entertaining movie with lots of dramatic F1 racing, it was not an accurate depiction of current-day F1 racing. The production prioritized hero moments over the strict regulatory environment of the FIA, F1’s ruling body. Three examples are: diving into the inside of a corner from a significant distance back, weaving under braking, and off-track overtaking. All of these are violations of the rules and would result in penalties or disqualification. Another unrealistic element was showing the cars dancing around each other rather than staying on the ideal racing line around the apex of the corner.
I also enjoyed the movie and appreciated the efforts the production team went to include real racing drivers and locations into the movie. It’s important to remember it’s dramatic, exciting fiction and not representative of the driving one would see if you watched a real F1 race.
James Berardinelli's original review
Comment by FB Friend Miki Tokola:
While I agree it was an entertaining movie with lots of dramatic F1 racing, it was not an accurate depiction of current-day F1 racing. The production prioritized hero moments over the strict regulatory environment of the FIA, F1’s ruling body. Three examples are: diving into the inside of a corner from a significant distance back, weaving under braking, and off-track overtaking. All of these are violations of the rules and would result in penalties or disqualification. Another unrealistic element was showing the cars dancing around each other rather than staying on the ideal racing line around the apex of the corner.
I also enjoyed the movie and appreciated the efforts the production team went to include real racing drivers and locations into the movie. It’s important to remember it’s dramatic, exciting fiction and not representative of the driving one would see if you watched a real F1 race.
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