F1 The Movie Review: Your Dad’s Next Favorite Film

F1: The Movie is a worthy follow-up to Joseph Kosinski’s Top Gun: Maverick, even if it lacks emotional stakes.

How does this relate to F1? Industry insiders fear Kosinski’s $300 million blockbuster will make or break Apple’s theatrical strategy. In that sense, F1 The Movie is in the same position as its protagonist, having to go against all odds to prove itself.

Following an accident that nearly ended his racing career, Sonny Hayes (Brad Pitt, Wolfs) is approached by his former teammate Ruben Cervantes (Javier Bardem, Dune: Part Two), owner of a struggling Formula 1 team, APX. Ruben convinces Sonny to come back to professional racing for one last shot at being the best in the world. He’ll drive alongside Joshua Pearce (Damson Idris, Snowfall), the team’s hotshot rookie. But the tracks reveal themselves to be more dangerous than before, as Sonny’s past catches up with him amidst inner company feuds.

Playing the game of comparison when two movies have similar premises can be unfair to a group of filmmakers. In the case of F1, though, not only does it have the same creative team as Top Gun: Maverick, but its marketing campaign tried to sell the film as Top Gun with cars. To go beyond that, they’re both about “old relics” making way for the future generation that, for one reason or another, really resonated with dads. For a blockbuster that promises high-octane action, F1 delivers the thrills, even if it slacks on occasion.

You’d assume a movie about being fast would fly by, but this one doesn’t. Its 156-minute runtime isn’t the issue here. It’s the pacing. Whereas Kosinski found a way to make each set piece in Top Gun: Maverick stand out by providing variety in its dogfights and giving us moments to breathe, F1’s action feels too similar. On paper, all of the racing sequences are well executed and build a level of immersion that any other film wishes it could achieve. The problem comes when the movie is asking you to care about what happens in between each race.

The aerial scenes in Top Gun: Maverick are elevated by the simple yet effective character work. You instantly understand the regret in Tom Cruise’s Pete concerning Miles Teller’s Rooster. Their rivalry, if you can even call it that, is clichéd, but it is sincere, and a lot of that comes from the cast’s natural charm. In F1, I am constantly presented with character drama that should be as engaging as Maverick’s, but unfortunately can’t get past screenwriter Ehren Kruger’s reliance on tropes. As a result, the flow of Stephen Mirrione’s edit isn’t very consistent. The character drama doesn’t have the weight to balance the film’s action, and when we do cut to a race, it either lacks emotional stakes or does little to differentiate itself from a previous race set piece.

Despite my issues with F1: The Movie, I can’t deny the impressive filmmaking on display. Kosisnki’s collaboration with cinematographer Claudio Miranda continues to create awe-inspiring images that will redefine how this kind of movie will be made going forward. The way the POV shots make you feel claustrophobic and simultaneously fuel you with energy proves to be a lot of fun on an IMAX screen. F1 is easily my frontrunner (so far) for Best Sound at the Oscars. Anytime those engines are turned on and the cars are flying through the tracks with Hans Zimmer’s techno score playing in the background, you feel like you’re behind the wheel, shaking in your seat.

Although the film’s script is easily F1’s weakest point, the cast is undeniably doing their best to glue everything together. Brad Pitt captures the kind of cool persona Sonny requires while showcasing the cracks where his frustrations shine through to demonstrate vulnerability. Kerry Condon’s (Night Swim) role isn’t the best written, but there is a natural likability to her character that injects the film with a much-needed warmth. Damson Idris’s Josh Pearce is an odd part to discuss because the writing for his character can be inconsistent, especially his relationship with Sonny, but Idris emotes in such a manner that almost makes you forgive whenever the movie loses interest in his character in favor of Pitt’s. 

It’s easy to picture why F1: The Movie will most likely resonate with dads. It might not be the smoothest or most nuanced blockbuster of the summer season, but chances are it will be one of the most technically impressive ones. Joseph Kosinski sets up a simple premise that allows the audience to get lost in the spectacle. He continues to grow as a blockbuster filmmaker who can handle himself amongst the big leagues. My rating for this could easily go up with repeat viewings, but as is, F1 is as flawed as its protagonist, looking for a chance to be seen and make a name for itself. It’s the kind of cool cinema you can relax to and enjoy the ride it will take you on. The kind we must support so companies like Apple can continue to support artists like Kosinski in their ambitious theatrical endeavors.

F1: The Movie will be released in U.S. theaters on June 27, 2025, with previews on June 23 (IMAX Fan Event) and June 25 (early access), in U.K. and Irish cinemas on June 25, and globally in theaters on June 25-27.