SPOILER FREE
Due to unusual and unforeseen circumstances (aka my fiancé), I have become a bit of a racing fan in the past year. Though I’m not a huge Formula One fan, the hype around it created quite a bit of anticipation for this blockbuster. The film’s director, Joseph Kosinski, also directed Top Gun: Maverick, which was one of the best theatrical experiences of my life. The team developed new technology for this movie which required years of collaboration with Formula One to execute. That reputation would be difficult for any movie to live up to. So, did F1 live up to its hype? Mostly, yes.
I’ll get this out of the way first. Brad Pitt, portraying Sonny Hayes, gave one of the worst performances of his career in this movie. He seemed utterly uninterested in the plot and struggled to hit any emotional register. It was Brad Pitt, as Brad Pitt (only with a gruffer appearance and voice). I truly believe Pitt took this movie solely to drive cars. However, this barely matters. He delivered the minimum to push the plot along, but F1 is much more about the spectacle than the story.
With that caveat— this movie rules. The best sequences are by far the racing sequences. So, it’s good that they take up most of the movie. Joseph Kosinski has discussed the extensive collaboration and resources required to execute on his vision, and it clearly paid off. The camera captures the power and chaos of the sport, allowing the audience to feel the vulnerability and intensity that drivers feel on the track.
That stunning camera work is accompanied by an equally affecting score by Hans Zimmer. The score features many EDM tracks, accompanied by Zimmer’s more typical orchestra, to evoke a sense of urgency. When that score kicks in at the beginning of the race, your brain shuts down and the movie takes over. Considering the runtime of F1, that combination of camera and score helps it fly by.
Another technical marvel in F1 is its editing. The movie features a few flashback sequences that are incredibly well-cut. They provide all the necessary information without over-explaining to the audience. There are also a few moments in Sonny’s first race when I wanted to rewind just to watch a cut again.
As this praise implies, F1 is a very visual movie. It relies on the power and spectacle of visuals to remain entertaining, but that does not mean its performances do not add dimension as well.
Aside from Pitt, there are some fantastic performances in this movie. Damson Idris blows his scene partners off the screen as the rookie driver Joshua Pearce. He conveys the cockiness, insecurity, confusion, and intensity of the character while remaining likable. There were times I wanted Pearce to win instead of Sonny because of the tender, good-hearted core Idris gave his character. Kerry Condon is also very entertaining as the team’s technical director. She provides the comedy and brevity that the movie needs. Javier Bardem can always be relied on to deliver knock-out supporting roles, and he infuses F1 with a bit of drama as the team’s owner.
Ultimately, F1 is a great summer blockbuster. Formula One fans might have some nitpicks, but complete accuracy is not what I’m looking for in a movie like this. It was a blast, with just enough plot to keep the audience going. Not quite Top Gun: Maverick level, but maybe the closest since then. Movie fans of all kinds should be excited that we have a director like Kosinski who is interested in telling original stories and experimenting with the medium.
So, I think F1 is a win for cinephiles and casual moviegoers alike.
I recommend F1 to anyone who follows Formula One or other racing series, loves Top Gun: Maverick, or just wants a fun time at the movies this summer.