In an era where most racing films rely heavily on green screens and digitally drawn details, director Joseph Kosinski (“Top Gun Maverick”) and legendary producer Jerry Bruckheimer have crafted something genuinely unprecedented with “F1.” This Formula One thriller that embeds itself within the actual racing circuit for an entire season, putting real actors in real cars on real tracks while delivering a throwback to the golden age of star-driven blockbusters. Following Kosinski’s masterful work on Top Gun: Maverick, which proved audiences crave authenticity over digital wizardry, “F1” doubles down on that commitment to practical filmmaking while showcasing Brad Pitt in a performance that recalls the larger-than-life movie stars of Hollywood’s golden era.
Let’s dive into the full review after watching the latest trailer.
“F1” chronicles veteran driver Sonny Hayes (Brad Pitt), a former Formula One driver and clear racing prodigy whose promising career was derailed by a catastrophic crash during a race many decades ago. In reality, this wreck was modeled after a real life Formula One driver.
Sonny dedicates his free time to drifting between various racing circuits—living in a van and competing in events like 24 Hours of Daytona, where we meet him as he makes up for a lost lead by one of his teammates. Hayes is electric, and Pitt has never been better in terms of blockbuster potential… he’s Cliff Booth on steroids without the accent or LSD trip.
Additionally, Pitt has infused Sonny Hayes with various superstitions like cutting poker cards and putting one secret card in his uniform. It’s never defined in the script and in an age where everything is laboriously explained, it’s refreshing to leave little character choices to audience interpretation.
Hayes’ life changes for the better when he’s met and challenged by his old racing friend Ruben (Javier Bardem), now the owner of the perpetually last-place APEX GP team. He’s in the hole hundreds of millions and he wants Hayes to bring some life into his franchise, despite his age. Hayes initially refuses, however the lure of one last shot at Formula One glory draws him back to the chase.
Hayes must learn to work with up-and-coming driver Joshua Pearce (Damson Idris), a talented rookie whose ego might surpass his skills amid a challenging year for his team. Their dynamic on and off the track is engaging and ever-evolving. The film takes time to develop their relationship beyond exposition, and you feel it’s very well-paced out in its evolution.
What distinguishes “F1” from other racing films is director Joseph Kosinski’s unwavering commitment to authenticity. The production embedded itself within actual Formula One weekends, with the fictional APXGP team operating alongside real racing teams during genuine Grand Prix events. Pitt and Idris underwent extensive racing training to actually drive modified F1 cars at speeds exceeding 180 mph while delivering dialogue and hitting emotional beats. The result is racing footage that feels genuinely dangerous and immediate, creating an immersive adrenaline rush that no amount of post-production could manufacture.
Oscar nominations are a lock for editing, sound design, sound editing, and cinematography. It’s possible the “Top Gun Maverick” director will again be up for one of the Best Picture slots, making mainstream films once again a topic of awards conversation.
And then there’s Brad Pitt, who delivers one of his most physically demanding and charismatic performances as Hayes, a character who embodies the effortless cool of classic Hollywood leading men while grappling with very modern anxieties about aging, relevance, and his plethora of mistakes that he sees all too well in the rear-view mirror.
Pitt’s portrayal recalls the roguish charm of Steve McQueen meets Paul Newman, injecting his particular mix of discipline and rebellious effortlessness into every scene. Even when the script makes constant references to his character’s age, Pitt’s magnetic screen presence proves that true movie star power transcends demographic concerns.
The supporting ensemble brings depth to roles that could have been thankless, with Javier Bardem delivering solid work as the team owner whose desperation to save his operation never overshadows his genuine affection for Hayes.
However, it’s Kerry Condon who truly steals scenes as Kate, the Irish technical director whose intelligence and fierce determination to build the best car have cost her a marriage. Condon avoids the romantic interest stereotypes by not leaning too hard in early scenes with Pitt’s Hayes. In fact, she more than holds her own against one of cinema’s biggest stars, matching Pitt’s energy while maintaining her character’s distinct voice and authority.
Kosinski’s direction excels when focusing on the mechanical poetry of Formula One racing. Working with “Top Gun: Maverick” cinematographer Claudio Miranda, the filmmaking team utilizes bleeding-edge cameras and a signature swerving 180-degree pan that seamlessly transitions from driver’s viewpoint to cockpit interior. The film’s commitment to authenticity extends to incorporating real Formula One personalities, including Lewis Hamilton as both producer and on-screen presence, creating a you-are-there feeling that distinguishes “F1” from other racing films.
Hans Zimmer’s score complements the mechanical symphony of twelve-cylinder engines, but won’t net the Oscar veteran one of the five slots this year. The practical effects team’s work in creating safe but authentic racing scenarios allows for sustained takes that build genuine tension rather than manufactured excitement.
Where the film occasionally finds a too-familiar groove is in its adherence to familiar sports movie formulas, it cannot be faulted for executing those beat with integrity. That small grip is nothing compared to the film’s unprecedented achievement in practical filmmaking and star-powered entertainment.
“F1” succeeds because it remembers that spectacular action sequences mean nothing without compelling characters to emotionally invest in, and that authentic thrills can elevate even the most familiar story beats. Most importantly, it proves that in an age of franchise filmmaking and digital spectacle, there’s still room for star-driven blockbusters where charismatic leading men can carry massive productions through sheer force of personality.
Letter Grade: A