Introduction to F1

The new summer popcorn film from the team behind Top Gun: Maverick has finally arrived, starring Brad Pitt as a former Formula 1 star. The movie follows the story of Sonny Hayes, a golden boy of Formula 1 who suffered a terrible accident 30 years ago that tore his life apart.

The Story of Sonny Hayes

Sonny’s character had a hard time after the accident, losing his career, having failed marriages, and getting some poorly advised tattoos. He now travels from one less-than-glamorous racing event to another in his motorhome, sometimes even driving a taxi for money. However, his old buddy Ruben, who is responsible for a Formula 1 team that keeps losing, gives Sonny a chance to participate in the top level of motor racing again.

A Full Recovery

One of the problems with the film is that Sonny makes a full psychological and physical recovery before the opening scene. His defects are fixed, his demons are dead, and he has no weaknesses besides a relaxed arrogance that can only be expected from someone who looks like Brad Pitt. From the moment he appears in his double denim and unique Hollywood shades in Silverstone, Sonny is extremely relaxed and confident, soon proving to be a tactical genius, an inspiring leader, a loyal team player, a gentleman, and an innovative car designer.

The Biggest Problem with F1

However, the biggest problem with the film is not its flattering portrayal of the leading man but its equivalent, blatant attitude towards Formula 1 itself. With real circuits and full cooperation from organizers and participants, the film is essentially a shiny corporate support film with excessive product placement. There is no criticism or skepticism, and no indication of anything exploitative or negative. Formula 1 fans may be happy with the insights into their favorite drivers, but the film is so intent on portraying its milieu in a positive light that none of the characters can be a real antagonist or even say something unpleasant about Sonny.

Lack of Tension

The story just jumps around the world, ticking every Grand Prix in one season. In the first few races, Ruben’s team fails miserably, but as the weeks go by, they start to improve. The film’s predictability makes it difficult to be emotionally invested, and the lack of tension is palpable. The dialogue, written by Ehren Kruger, is also rudimentary, with placeholder lines that should not be quoted in the coming years.

Conclusion

While the film is not a car accident, it is a competently assembled collection of outsider sports drama clichés. The lineup does its best to bring the two-dimensional characters to life, but it’s not enough to save the film. Hans Zimmer’s epic synth anthems and the great sequences on high-speed vehicles are notable, but they’re not enough to make the film convincing. Overall, F1 is a film that fails to persuade its audience that its protagonists are people, and it never convinces them that Ruben’s team of supporters is worth rooting for.