Brad Pitt leads F1 movie “F1: The Movie,” a high-profile racing drama directed by Joseph Kosinski and written by Ehren Kruger, which arrives in theaters on June 27. Co-starring Damson Idris, Kerry Condon, and Javier Bardem, the film is produced with the close cooperation of the Fédération Internationale de l’Automobile (FIA). While promising technical spectacle and intense action, the film’s ambitious casting and creative decisions ultimately create more friction than flow, resulting in an emotionally unfulfilled finish despite riveting racing sequences.
Formula One’s Realism and Hollywood’s Star Power
The film’s deeply intertwined relationship with the world of Formula One sets it apart from other racing movies. Its production unfolded with FIA support, even coinciding with real F1 events like the 2023 British Grand Prix at Silverstone, and scenes from its shoot appeared in official race broadcasts over three seasons. However, this collaboration raised concerns that the film might err on the side of caution, protecting the sport’s image at the expense of storytelling depth.
Producer Jerry Bruckheimer, familiar to fans for his work on “Top Gun” and “Days of Thunder,” returns behind the scenes, while Joseph Kosinski brings a modern touch following his success with “Top Gun: Maverick.” Composer Hans Zimmer, another alumnus from “Days of Thunder,” crafts the film’s energetic score. This connection to racing cinema history sets high expectations but also shines a spotlight on the formula at play.
Echoes of Classic Racing Formulas—And a Reversal
“F1: The Movie” borrows heavily from what Roger Ebert called the “Tom Cruise Picture,” a cinematic template found in “Top Gun,” “The Color of Money,” and “Days of Thunder.” In that model, the youthful protagonist, gifted but unruly, is guided by an older mentor and an influential female character. As Ebert described it,
the archetypal Tom Cruise Movie is Top Gun, in which the young fighter pilot, a natural, was tutored by a once-great pilot and emotionally nurtured by an older female flight instructor before testing his wings against the hot dogs of his unit, in preparation for a final showdown.
—Roger Ebert, Film Critic.
“F1: The Movie” upends this framework by centering on Pitt’s Sonny Hayes, a veteran driver returning to the sport after a 30-year absence following a traumatic accident at the 1993 Spanish Grand Prix. Rather than the youthful upstart being mentored, audiences follow Hayes as he attempts a comeback, with Kim Bodnia as a team principal filling what would traditionally be the mentor’s role—despite being a contemporary of Pitt’s character. Damson Idris plays Joshua Pearce, the new prodigy and supposed rival, but this time the generational roles are reversed, reflecting shifts in Hollywood’s hierarchy and blockbuster economics.
The Economics and Evolution of Movie Stardom
Brad Pitt’s commanding $30 million salary—rivaling the budgets of many sports dramas—is partly a consequence of the film being acquired by Apple for its streaming platform. These massive upfront payments reflect a broader industry reliance on established stars like Tom Cruise, George Clooney, Leonardo DiCaprio, and Will Smith to anchor ambitious productions. For younger actors, such as Damson Idris, Timothée Chalamet, Ryan Gosling, Adam Driver, and Robert Pattinson, translating critical success into franchise-defining, box office-smashing status remains an industry challenge, with few making the leap to Hollywood’s top earning tier.
This landscape leaves studios hesitant to grant leading roles to emerging talent. Instead, the default is to cast reliable, older stars or produce sequels, biopics, and franchise tie-ins, as seen with upcoming titles like “Twisters,” “Gladiator II,” and “Dune: Part Two.” In the case of “F1: The Movie,” these casting dynamics shape the very core of the film’s narrative.
Character Development Short-circuited by Star Casting
Pitt’s starring role dictates much of the film’s structure. Sonny Hayes’s return is more about reclaiming personal glory than fostering the next generation, making the emotional centerpiece of the film a weary champion rather than an emerging hero. Hayes’s reckless streak feels at odds with the wisdom his character is supposed to possess after decades away from the circuit, and the film rarely explores the darker sides of such obsession, missing an opportunity to bring depth to the story.
The narrative also leaves other characters underserved. Damson Idris’s Joshua Pearce would, in reality, be only the second Black driver in Formula One history, a fact the film fails to address directly. The social and cultural implications of Pearce’s presence on the grid are left unexplored, even in scenes with his mother, played by Sarah Niles. Furthermore, unlike predecessors in this film formula, Pearce is not given a romantic storyline—highlighting persistent patterns in Hollywood’s depiction of Black male characters.
Kerry Condon’s Kate McKenna, depicted as the first female technical director in Formula One, initially shows promise as a boundary-breaking figure and love interest for Hayes. But after her professional achievements are recognized, the script sidelines any further character growth, echoing the limited roles previously seen for women in racing dramas.
The Catch-22 of Modern Blockbuster Making
While high salaries and star-driven vehicles are nothing new in Hollywood, the prioritization of marquee names can reverberate through every aspect of a production. The decision to center “F1: The Movie” on Brad Pitt means the film is framed through the eyes of a character whose arc is flatlined by the story’s reluctance to fully explore his motivations or vulnerabilities. This creative choice affects not only the film’s heart but its audience’s connection to the drama on and off the track.
Technical Excellence That Outpaces the Script
Despite its weaknesses in character development and narrative risks, the film excels technically. The racing footage is thrilling and meticulously staged, immersing viewers in the sensory overload of Formula One. One standout sequence pays homage to the classic film “Grand Prix,” using split-screen shots to elevate the tension as Hayes and Pearce line up for a pivotal race.
However, without a compelling core, these bravura moments become hollow. The visceral impact of the racing is undercut by the lack of emotional stakes, a contrast that becomes more apparent compared to sports dramas like “Creed,” which balances physical spectacle with genuine character arcs.
Legacy, Shortcomings, and the Road Ahead for Racing Films
“F1: The Movie” stands as a technically dazzling but emotionally distant addition to the pantheon of racing films. It serves as a case study in how a single creative decision—prioritizing star power over storytelling—can alter the outcome of a cinematic endeavor. While Brad Pitt leads F1 movie efforts with undeniable charisma, the film’s heart remains stuck in neutral, limited by conventions that sideline new voices and untapped stories.
Damson Idris impresses within his limited role, while icons like Kerry Condon and supporting players deliver strong work, yet their characters are not given enough room to grow. As the racing genre evolves, the challenge will be finding ways to hand the spotlight to a broader spectrum of talent and experiences. “F1: The Movie” may thrill with its action but serves as a reminder that the future of sports cinema depends on more than just star power behind the wheel.
For fans of Formula One and aficionados of racing movies, the impressive visuals and atmosphere are worth the ticket—yet the film’s biggest emotional races remain run offscreen, waiting for someone new to take the checkered flag.
