The ‘Not-A-Review’ of F1: The Movie

“Three laps is a lifetime.” – Sonny Hayes

As a patron who was as ever engaged with Formula One through the darkest moments under the Bernie Ecclestone and CVC Capital Partners ownership of the sport, it still beggars belief that a decade later the media and engagement landscape is like comparing chalk and cheese.

In short, the notion of social media, influencers and Netflix – were not considered and almost taboo subjects 10 or so years ago. Let alone the idea of a full-length feature film, dressed in Hollywood gloss and combined with immersive aspects of Formula One.

Titled F1: The Movie, is a crowning achievement in the sport’s modern era. The door that was opened by US media juggernaut Liberty, with the likes of Drive to Survive has been proudly marched through by Director Joseph Kosinski (Top Gun: Maverick) and Producer Jerry Bruckheimer (Pirates of Caribbean).    

Having been fortunate enough to be invited by Universal Pictures to attend the film’s premiere in Melbourne ahead of it’s release on June 26-27, it was difficult walking away after the marathon 156 minutes to provide a generic review.

There were elements of the film that were laudable and enjoyable, whilst other moments fell flat or succumbed to the levels of cringe a level-headed, rusted on F1 diehard would’ve feared about a Hollywood adaptation of their sport.

The film deserves a chance to be appreciated, rather than shunned which the dark side of social media and deep-rooted gatekeeping from some pockets of rusted on fans may unfortunately bring.

Please note there are potential spoilers ahead.

Technological marvel & immersion galore

Boasting a reported US$200-300 million budget, there’s no doubt that every penny had been spent and spent well. F1: The Movie is visually amazing, as well as highly immersive. Recommended to be seen on an IMAX screen too.

From the extended pre-title sequence set at the Rolex 24 IMSA event in Daytona, it was already clear that in terms of cinematography and the action scenes – that this film would be as authentic it would get.

Let alone the obscurity of Daytona for the mainstream viewer, for the hardcore motorsports fan – there was great excitement seeing the Rolex 24 portrayed. As well as immediately clocking US-based Australian commentator Leigh Diffey’s tones narrating the race.

Excitement for Diffey aside, once the film transitions into the world of F1 – the levels of immersion continues to captivate and impress. The broadcast style shots of the testing scenes at Silverstone blended wonderfully with the claustrophobic in-car and driver facing shots. Mirroring what Kosinski executed to great success on his previous hit in Top Gun: Maverick.

The way in which the film then plants the narrative into the F1 season too, is done with great affect. From the racing shots being seamlessly stitched together, to incidental driver and personality appearances in the paddocks and grids of the world.

Though later on, the lengthy 156-minute run time does exhaust even the immersion. As by the finale in Abu Dhabi, the eagle eyed viewers will notice discrepancies between 2023 and 2024 car liveries. But on the other hand, references to what casual viewers might call obscure about tyre allocation regulations between qualifying and the races – may excite the hardcore fan.  

A safe, but flat falling narrative

This is where the bulk of my concerns sat heading into F1: The Movie, with the knowledge that the fans in that anti-DTS brigade would have their pitchforks sharpened and prepared to review-bomb the film.

It is such a worrying trend, not only in F1 but across other major media franchises where this behaviour has led to even cancellations of projects. Yes, I’m looking at you all who got The Acolyte Star Wars project turfed.   

However, after viewing the film my key concerns lay with the fact as an enormous advertisement for F1 the sport, there are parallels of the narrative exploring too closely some of the more controversial parts of the sport such as 2008’s Crashgate.

There’s no denying that in terms of the plot, F1: The Movie plays it safe with a proven narrative formula for the underdog sports film. And a guaranteed happy ending, whereby the struggling athlete or team win whatever prize they’re chasing.

Brad Pitt’s Sonny Hayes is brought back to the world of F1 more than 30-years after his prospective career was ended by a crash. Which with the permission of ex-driver Martin Donnelly, footage of his horrific 1990 crash in Jerez was used with Hayes edited into the Briton’s place.

The excellent Javier Bardem is Ruben Cervantes, Hayes’ ex-teammate in F1 and the owner of the fledgling APXGP team to which the latter has been brought out of exile to help attain a result to ensure the team survives.

Old timer Hayes has to go up against hotshot rookie Joshua Pearce, portrayed well by Damson Idris – with their own friction causing further destabilisation to a team already on the brink of ruin.

Eventually, they end up working together to achieve that result needed to ensure the survival of the team. However, there are elements drawn out across the lengthy run-time that perhaps could have been condensed or explored differently.   

Failing the Bechdel Test

And the above point leads into this, which disappointingly is a discussion point with this film given the fact that modern F1 boasts a stronger female audience than ever and continues to work at engaging more females in the industry.

A massive surprise then, that F1: The Movie failed the Bechdel Test; a test designed to measure representation of female characters in any media. Whereby two named female characters, must engage in dialogue together and the conversation is not about males.

More cringeworthy than the APXGP team briefing in which Hayes essentially gets each team member to chant in unison in order to gain them a tenth-of-a-second, was the reality that the brilliant Kerry Condon’s character is shoehorned from aero-genius to just the love interest.

There is brief mention of Kate McKenna’s journey to becoming F1’s first female technical director and the struggles along the way. Building hope in the viewer, that her arc will culminate with her unlocking the performance from the erratic car – however instead, despite all her knowledge and education – it is salty dog Hayes tells her how to build the car.

Sure, driver feedback to engineers is an authentic part of F1 and any motorsport – but how dumb is it that Hayes, who’s not driven an F1 car in 30 years is able to immediately grasp and rectify the deficiencies of a modern car?

APXGP tyre mechanic Jodie (played by Callie Cooke) is also set up as a character to potentially have a redemption arc, though by the end of the film any sort of personal triumph is overshadowed by the team’s win altogether.

Of Bridgerton fame, actress Simone Ashley had been part of the film initially, though ultimately had her scenes cut for the run-time.

Even Pearce’s mother Bernadette (Sarah Niles), starts off in the film as a potentially intriguing and engaging character to get behind – before too ultimately whittling into the background.     

And across the line

To summarise then and while it may appear that the negatives outweigh the positives about F1: The Movie, my final sentiment is that it is an enjoyable and fun film. Brimming with authenticity and immersion never before seen in a modern F1 inspired movie, that’ll have you wanting to hug everyone in the paddock like Guenther Steiner.

While it was ok for the narrative to play it safe to the conventions, some risks should have been taken and it was disappointing that despite his Executive Producer status, we didn’t see more of what Lewis Hamilton has been championing off-track weaved into the narrative.

The Hans Zimmer original score brought his traditional orchestral elements together with some Trent Reznor and Atticus Ross-esqe electronics to compliment the film. Along with songs from pop icons such as Don Toliver, Doja Cat, Raye, Tiësto and Ed Sheeran.  

Pitt, Idris and their fellow cast members all excel, but any shortcomings are down to the screenplay and narrative rather than the individual’s acting chops. While the roster of F1 talent is incidentally woven in, rather than intrusive bar for some dialogue from three team principals.

A landmark achievement for the sport, who after the success of Drive To Survive would have left many wondering – what next? And how long would the novelty of that would be sustained. Without forgetting the anti-social previous era of commercial rights ownership, which as well thwarted the last attempt at an F1 film resulting in 2001’s Driven.