RATING 4 out of 5

F1 is an exhilarating racing film, blending the realism of Formula 1 racing with Hollywood spectacle thanks to immersive racing sequences and exceptional sound design, all built around a Brad Pitt movie star performance that results in a classic summer sports blockbuster that demands to be seen on the biggest screen and loudest sound system imaginable.

How does a director follow the monumental success of Top Gun: Maverick, which is rightfully heralded as one of the greatest summer blockbusters ever made? Why, by filming real Formula 1 races to create a classic sports summer blockbuster starring one of Hollywood's most beloved movie stars: Brad Pitt. Trading in high flying fighter jets for the some of the fastest race cars in the world, Joseph Kosinski captures the excitement and intensity of Formula 1 racing unlike any other racing film has done to date, putting the audience in the driver’s seat thanks to exceptional sound design, a thrilling Hans Zimmer score and real life Formula 1 drivers racing on real tracks. All specially formatted and designed for IMAX, it’s a throwback to the classic summer blockbuster that we don’t see enough of anymore, all anchored by Brad Pitt’s charismatic lead performance that delivers a true spectacle that demands to be seen in theatres.

Hollywood is known for its overdramatization and spectacle style of storytelling, but there is a grounded realism to the entirety of F1. Shot on real Formula 1 race tracks with actual drivers and the regular sports commentators, there is no make believe when it comes to the racing on display. The sound design is immaculate, capturing every rev of the engines, hum of the power tools during the pit stops, cheer of the crowds and overhead commentary, you can feel every aspect of the race. Continuing to be Kosinski’s only cinematographer for his films, Claudio Miranda puts the audience in the middle of the action with shots from the point of view of Pitt’s Sonny Hayes and Damson Idris’s Joshua Pearce, capturing their opponents sneaking up from behind them while focusing on their face in the driver’s seat, and wide aerial shots to showcase the expansive nature of the races. Bolstered by Hans Zimmer’s score that elevates the tension, the emotion and excitement of each race, a solid soundtrack, and exceptional editing that never for a second loses the intensity of the races, all specially formatted for IMAX to give the best viewing experience possible, it’s everything Formula 1 fans could want. And by the time the film enters its thrilling final race, Kosinski and his team, with insightful input from Formula 1 driver Lewis Hamilton, deliver that astounding spectacle that will have audiences on the edge of their seats, ending the film on an incredible high that audiences want from such a film. 

When it comes to sports stories, there are few plot archetypes for story tellers to pick between, and while Kosinski and his co-story creator Ehren Kruger don’t reinvent the wheel, they infuse it with all the drama and excitement of the world of Formula 1 racing. Many of the story beats are borrowed from real life Formula 1 racers, playing out as a greatest hit of the sport over a two and a half hour long film from tactics, rivalries and injuries, which the Formula 1 fans will immediately be able to pinpoint the real life inspiration. Individuals that Sonny and Joshua cross paths with outside of their team are all real racers and team members from the world of Formula 1, giving an authenticity to the world of the film. While individuals beats and the rivalry between Sonny and Joshua is without question dialed up a few levels to help create an exciting and engaging story for the film, as there is no way a real Formula 1 race would allow that wildly entertaining Plan C to run rampant during a race, the building blocks are pulled from real life to ensure that while there is over embellishments in its delivery. This helps F1 remain grounded which sets it apart for the better from the majority of other films releasing this summer, which will no doubt have audiences coming out to see this story on the big screen.

Where the story slightly stumbles, is in its length. By playing out cliches and borrowed story beats from the real world of Formula 1 racing, there is not enough substance to sustain a runtime that clocks in at over two and a half hours. There is no question where the story is going to end, as Kosinski and Kruger are playing with a tried and tested story blueprint, but they add in unnecessary story beats. Tobias Menzies’s Peter Banning serves little purpose, especially in the film’s latter half where the direction they take his character merely duplicates the dramatic stakes of the story with no value added, and if anything distracts from Sonny's character arc. Parts of Kerry Condon’s Kate McKenna’s arc are absolutely valid and bring some great moments to the film, notably the poker scene which is the best scene of the entire film outside of the racing, but other moments with her character’s budding romance with Sonny feels more forced than organic just to satisfy the blockbuster requisite for a romantic subplot. While these choices aren’t bad, they do extend the film a good twenty to thirty minutes past its prime, dragging out the first and second acts where a tighter told story that came in closer to the two hour mark would have helped the film maintain its dramatic intensity consistently heading into the film’s final race.