"F1: THE MOVIE": ALL STYLE, LITTLE SUBSTANCE

Expectations were sky-high for F1, the film directed by Joseph Kosinski with Brad Pitt playing veteran driver Sonny Hayes, brought back to lead (on and off track) a fictional team in the modern world of Formula 1. Expectations (not mine, for the record) driven by Apple’s backing, Jerry Bruckheimer’s involvement, Lewis Hamilton’s direct consulting—and because, for the first time, F1 truly opened its doors to big-budget cinema, with footage shot during actual race weekends, on real cars, in the heart of the paddock.

And yet, despite the muscle behind the production and its flawless packaging, the film ends up being what too many racing movies ultimately become: all style, little substance. A well-choreographed product that, however, leaves no lasting impression.

A Story We’ve Already Seen

The plot revolves around a disgraced former driver making a comeback, mentoring a young talent (Joshua Pearce, played by Damson Idris), trying to save an underdog team while battling his personal demons. Sound familiar? It should. From Days of Thunder to Driven, and more recently Gran Turismo, racing movies seem unable to break free from this tired narrative formula.

F1 is no exception. It’s all been done before: the internal rivalry, the hostile press, the gruff-but-good team principal (Javier Bardem—still magnetic), the down-to-the-millisecond pit stop, the final redemption arc. The film picks up speed, but never finds the right line.

Real Crashes, Questionable Fiction

Then there are choices that raise eyebrows—especially for motorsport fans. A direct reference to Martin Donnelly’s crash, recreated using real 1990 footage from Jerez, leaves a bitter aftertaste. Was it really necessary to include such a dramatic, graphic moment to add depth to the character? And if so, did it have to be shown that way?

Same goes for the crash scene at Monza, which nearly replicates Alex Peroni’s terrifying 2019 F3 airborne accident, combined with fire effects that clearly nod to Romain Grosjean’s 2020 crash in Bahrain. The result? More of a forced reference than a meaningful tribute—more visual shock than narrative need. It borders on sensationalism, and that’s not a great look.

Sonny Hayes: Driver, Engineer, Strategist, Demigod

One of the most glaring issues lies in how race sequences are handled: spectacular, yes—but completely unrealistic for anyone with even a basic grasp of motorsport. Brad Pitt’s character doesn’t just drive—he calls strategy, makes tire change decisions, adjusts setups, and dictates race lines. He’s like a mash-up of Alonso, Toto Wolff, and a fantasy strategist from the commentary booth—all in one.

Wonder what Briatore thinks about the scenes where the team intentionally triggers three Safety Cars to boost performance?

In a hyper-technical world like F1—where every detail is crafted by dozens of engineers and weeks of simulation—this kind of storytelling is misleading. And it only fuels the same tired Hollywood cliché of the all-powerful hero.

Then again, that’s the same kind of narrative you’ll find in certain motorsport media coverage around specific drivers. But I’ll stop there.

Highs and Lows in the Details

There are also clear editing missteps, like in the final race in Abu Dhabi, where liveries from both the 2023 and 2024 seasons are jumbled together. A minor detail, sure—but in a film that prides itself on realism, the eagle-eyed fans will spot everything. And some inconsistencies make a lot of noise.

Credit where it’s due, though: the simulator scenes are excellently done, recreated with great care using an old McLaren sim rig (many of the factory scenes were filmed at McLaren’s Woking HQ). It’s one of the few moments where technology is portrayed with a touch of authenticity, showing how modern drivers actually prep for races. A niche detail, but one that adds depth and realism.

In Conclusion

F1 is a well-made film, no doubt. But it’s also a film that tries to please everyone—and ends up truly satisfying no one. It’ll entertain those chasing thrills, IMAX sparkle, and last-lap battles. But it’ll let down fans of real F1—the one made of invisible strategies, engineering duels, and millimetric margins.

It’s not a movie to dismiss—but not one to celebrate either. It’s a crowd-pleaser, professionally packaged, that offers two hours of light entertainment. Nothing more, nothing less.

In the end, F1 is like many modern Grands Prix: flashy to watch, engaging in the moment... but once it’s over, there’s not much left to remember.

Simone Marchetti Cavalieri

Race Frame