‘F1’ Review: Speed and Style Collide in Breathtaking Fashion

F1 doesn’t waste time pretending to be something it’s not. This is a sports movie through and through, familiar, fast, and unapologetically engineered to thrill. The plot, the structure, the arc: we’ve seen it all before. But here’s the twist, every gear change, every emotional beat, and every split-second decision is deliberate. Joseph Kosinski knows the formula inside out, and instead of overhauling it, he tightens every bolt until the whole thing runs smooth as hell. Sure, hardcore F1 fans might roll their eyes at some of the ‘Hollywoodisms’ and Sonny Hayes’ on-track antics would probably get him booted from any real paddock by lunch…but let’s be honest: this isn’t a documentary. It’s a super glossy sports flick, built for drama, swagger, and speed. And on those terms, it massively delivers.

Director Joseph Kosinski knows his way around velocity. After pushing the limits with Top Gun: Maverick, he brings that same pulse-pounding visual command to a new arena: Formula One. This time, the cockpits are tighter and the engines snarl with precision, but the story is built on equally solid ground, it’s a classic tale of redemption, rivalry, and of course a good old comeback. With Brad Pitt in the lead and an absolutely stacked crew behind the camera, F1 hits the ground running and rarely slows down.

Pitt plays Sonny Hayes, a washed-up former driver who’s spent more time nursing regrets than chasing trophies. When old friend Ruben (Javier Bardem) comes calling, Sonny finds himself back in the driver’s seat, literally and metaphorically. The setup is textbook: aging veteran meets brash young prodigy, sparks fly, lessons are learned. But even when it’s predictable, it’s handled with such technical precision that you hardly mind.

Visually, the film is nothing short of spectacular. Cinematographer Claudio Miranda, another Maverick alum, turns every corner and straight into cinematic gold. The on-track racing action is incredibly immersive to the point of claustrophobia, with cameras mounted so close to the cars you can feel the rumble in your chest. There’s even some jaw dropping wrecks, as Kosinski pushes the realism of F1 to its absolute limits. And with it being shot at real races during the F1 season and using IMAX cameras. The result? Scenes that feel both clinically accurate yet impossibly grand, it’s a real treat on a giant IMAX screen.

The supporting cast all have something to add and everyone on screen seems to be having a blast. They bounce off Pitt perfectly as he channels an almost mythic weariness, playing Sonny as a man caught between nostalgia and the need to prove he’s still got something left in the tank.

F1 is a full-blown spectacle, Visually, the film is nothing short of spectacular.

Damson Idris delivers a standout turn as rookie sensation Joshua Pearce, a hothead with the skills to back it up, and a chip on his shoulder big enough to upset the most seasoned veteran. His chemistry with Pitt balances confrontation with respect, and together they drive the movie’s emotional stakes. Kerry Condon rounds out the trio as Kate McKenna, a sharp-tongued tech director who’s just as fast with a plan as the drivers are with their laps. She’s the movie’s engine room, quietly powering everything with intellect and grit.

If there’s a gripe to be had, it’s the film’s tendency to lean a little too hard on commentary to spell out the specifics of the sport, it worries too much about educating new comers than trusting the audience to keep up. And as mentioned earlier, some of Sonny’s behaviour on track would, in the real world, have any team principal burying their head in their hands before handing him his P45. Then there’s Kerry Condon’s McKenna, pulling off technical miracles so impressive Ferrari would have her on a flight to Maranello by Friday. But hey…it’s a movie, without a bit of superhuman wizardry, we may as well just go and watch Drive to Survive.

Still, let’s not undervalue the achievement here. F1 more than understands its genre, and embraces the clichés. It’s a full-blown spectacle, so immersive you’ll catch yourself holding your breath, hoping they don’t botch another pit stop. And the final act throws in an extra layer of drama, with sabotage and a new antagonist in Tobias Menzies raising the pressure. The sound design, the visceral energy, and the IMAX visuals all combine to make one thing clear: this is a film built for the biggest screen you can find.

F1 is now playing in cinemas worldwide.

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