“F1: The Movie” (2025) stars Brad Pitt as Sonny Hayes, a substitute driver for hire who can enter any motor racing competition and win before moving on to conquer the next racing forum. A former Formula One teammate from the Nineties turned Formula One team owner, Ruben Cervantes (Javier Bardem), is on the brink of losing everything if his team, APXGP, does not win in its third year. Accepting Ruben’s offer would mean Sonny would have to return to the field where he had a disastrous accident that forced him into his itinerant lifestyle. Why would Sonny break his rule if it is not about the money?
“F1: The Movie” trucks in archetypical characters with a script so predictable that during a hospital scene, I predicted that Sonny would whisper, “I need this,“ which tickled me to the edge of theater disruption as I stifled my mirth and punched the air in my seat. My Fitbit registered me asleep for two hours two minutes of the two hour thirty-five-minute run time, which needed to be severely trimmed. The narrative is structured like the “stations of the cross” for sports movies, which is satisfying if you are a fan of the genre, but predictable and a bit torturous if you are not into the sport, and I’m a sports atheist with zero interest in driving. With that said, I did not hate it and found it entertaining because of the visceral packaging that pairs sight and sound.
The immodest Pitt unbuttons his shirt while wearing a cluster of necklaces to draw attention to his tanned, toned cleavage in hopes of distracting from headlines of the FBI investigating him for drunken, disorderly conduct and domestic abuse of Angelina Jolie and their children while high in the sky in their private jet. It will probably work because the old man ages like wine, which is an actual plot point in “F1: The Movie.” One line that actor Sarah Niles utters that does not even sound scripted, only improv-ed, “That’s a handsome man right there.” It is such a credible running gag that even a coworker, Kate McKenna (Oscar nominee Kerry Condon), APXGP technical director, does not even contemplate professionalism and embraces flirting despite all of the character’s red flags, which includes living in a van, a possible gambling addiction, an inability to follow orders, a talent for wrecking cars, a long list of exes and a scar that outlines his entire spine. Despite washing out the first time competing at F1, rarely finishing a race or coming in a position other than last, Sonny is the best because Pitt is hot and cool. Only in the movies unless you are in political office!
Sonny’s arrival puts rookie hotshot Joshua Pearce (Damson Idris) on edge because Sonny threatens his position as top dog. It is the old enemies to lovers, nope, opposites attract, nope, well, inevitable bromance, mentor-mentee relationship. Ruben hired Sonny for his *checks notes* “maturity.” Pearce has raw talent, but not Sonny’s grind, who is constantly keeping up team morale with a morning jog around the track, arriving early, staying late, constantly improving his hand dexterity and coming up with ideas to cut time. Let’s contemplate two possibilities. Sonny is autistic with a special interest in racing, especially considering how he does not care for following social norms and is laconic. Second, “F1: The Movie” is work propaganda—work propaganda that I happen to practice, but work propaganda nevertheless. Taking his natural talent for granted, Sonny is flashier and cares more about the media. Sonny is endearing because of his West Indian mom, Bernadette (McKenna), and his buddy relationship with his manager, Cashman (Samson Mayo). He is a wholesome Horatio Algiers story, and he wants to stay that way. Despite all the flash, he is not swimming in groupies or given to partying but prefers to chill out at home with his mom! Eventually he realizes that with Sonny’s help, he can achieve his goals, but first they have common ground. Cue a discovery as ridiculous as the one that led to burying the hatchet in “Batman v Superman: Dawn of Justice” (2016).
There are a lot of storylines that get alluded to and dropped. Poor Luca Cortez (Luciano Bacheta) is the backup driver, but no “All About Eve” storyline for him even though Pearce and Sonny take a turn banging out on sick leave. Molly Hart (Rachel Walters), who is part of the pit crew, clearly makes googly eyes at Pearce, but only Sonny gets to have sex with at least an age-appropriate woman. Only Bardem keeps his storyline intact, and I wished that it was longer because he blows everyone out of the water, including Pitt, in terms of presence and looks. Also, Tobias Menzies as Peter Banning, a slick board member who holds Ruben’s fate in his conniving, pinky ring wearing hands, blazer sleeves pushed up, broad grin, gets a character arc, and it is always fun to see him work. Shea Whigham is not there long enough, but he opens the proceedings on a solid foot. Also consider yourself warned: Whigham never comes back so savor his work while it lasts.
If you are into racing cars and want to experience it without dying or getting in trouble with the law, then you must see “F1: The Movie” in theaters to really feel as if you are in the driver’s seat. You do not need to know the rules because the dialogue is rife with explanations between the characters, the broadcast announcer, etc. It is heavy handed, but I appreciated it because even with it, I still needed a gearhead to explain a few plot points. It is a funny movie and acts as a jet-setting fantasy as they travel with ease around the world enjoying sumptuous accommodations, but there is a sameness to every region except for the national anthem played and the colors that the fighter jets spew out their rear. It is strip mall sleek and smooth sameness for the affluent with a need for speed, elevated fast-food hospitality with less character than the diner that Ruben and Sonny share their only repast.
Movies have been based on books, television series, video games, products and now motorsports. Part underdog sports movie featuring a competitive odd couple who must helm a team to save everyone’s jobs, “F1: The Movie” is all cool vibes, immersive slick spectacle and bangin’ tunes, but it does not touch the hem of being as memorable and superb as “Ford v Ferrari” (2019), the definitive racing classic film. If you are into the visceral cinematic descendant of William Castle’s films that promise a viewing experience that will look and sound as if you are in the movie, then this movie is for you. For anyone looking for a fresh story light on predictability, it is an overlong infomercial with hot men as the salesmen trying to convince moviegoers that the Fédération Internationale de l’Automobile IA Formula One World Championship is worth their attention. It only convinced me that I finally need to rewatch “Top Gun” (1986) so I can compare this movie to “Top Gun: Maverick” (2022) and see if “F1: The Movie” is a step back or forward for director Joseph Kosinski, whose work I loved in “Oblivion” (2013), a more substantive sight to behold.
