Warning: The following review may contain spoilers.
While I did not enter the cinema expecting Formula One to be portrayed in a realistic light, I similarly did not expect to be leaving F1: The Movie feeling confused and conflicted in what was to be endured during its lengthy 156-minute runtime.
Sadly, the film exceeded my expectations, and not in a good way.
The Plot
In its simplest form, F1: The Movie encapsulates the story of fictional American racing driver Sonny Hayes, who returns to Formula One after more than 30 years away from the sport.
His comeback is fueled by a desire to save his former teammate’s failing team ‘APXGP’, who require a single race win to retain their Formula One status. Hayes is ultimately bought in to mentor and challenge his struggling rookie teammate Joshua Pearce, producing an enemies to lovers arc, which carries weight throughout the entire film.
At face-value, the plot is intriguing enough to entice people away from raking up their dodgy tan-lines in the current heatwave, and seek shade at their local cinema. In practice, however, its sentiments lack in quality, which makes for painful viewing, and the urge to leave the cool confines of the cinema, to glow Ferrari red once more.
I personally even fell asleep in the film’s early stages, which speaks volumes for how well the sport’s action-packed nature was translated to the big screen.
What could have been a really interesting storyline – somewhat mirroring that of Hulkenberg’s recent Silverstone podium position – sadly fell flat. While the cinematography provided an immersive experience that emulated the intensity of track racing – with actual footage from Grands Prix – that is where the film sadly drew the line in its brilliance.
While certain elements provoke realistic thought into what the modern-day socio-politics of Formula One has become – with a Gen Z rookie, focused on social media engagement and sponsorship deals, and an oppositely-charged teammate, energised by the sheer thrill of the chase – it presents such ideas in a predictable and often cringey format.
Certain far-fetched crash scenes, and the decision by Hayes to let Pearce past to secure the win, even made me laugh in despair at how unrealistic such elements were. This becomes more shocking, when considering that seven-time world champion Lewis Hamilton approved this phenomenon, as its producer.
I further perceived the film to be lacking intention, adding a string of cliche elements, such as a corrupt business man as the villain, and playing on gender stereotypes, by framing female engineers as the love interest. One of which was also portrayed as feeble within a poor pitstop enactment, which left me feeling rather uncomfortable.
Target Audience & Wider Themes
I cannot help but feel that F1: The Movie is merely an extended metaphor for how over-commercialised the sport has become in recent years.
This viewpoint mirrors the indifferent attitudes of drivers like Max Verstappen, who notably provide a short and sharp account in post-race media conferences, for want of concentrating their energies on the sport itself – and rightly so.
Formula One is sadly no longer for a sub-group of motorsport enthusiasts, but instead actively targets influencers who care more for trends than engines.
Despite this fact, I struggled to comprehend who the target audience of such a movie was actually for; a movie that not only dramatically simplifies yet stereotypes the industry, but also fails to incorporate references that both new and old fans alike would appreciate.
It felt detached from its fanbase, and resembled a badly drawn-out advertisement, rather than an exciting addition to the Formula One franchise. Though, even just describing the sport as a ‘franchise’ makes me cringe.
It is certainly not produced with die-hard fans in mind, and equally lacks the gritty ‘Netflix appeal’ that newer fans have recently been drawn into.
Casting Choices
Casting a 61-year-old Brad Pitt in the main role feels like yet another questionable choice for the film, especially given that its slow pace does not represent his own fanbase either.
As an obvious marketing gimmick, I feel that casting someone with a more contemporary sex-appeal such as Chris Hemsworth or Theo James would have been the better casting choice, if this was indeed its intended purpose.
Final Thoughts
While many argue that its curation will entice yet more fans to the sport, I would argue that 156-minutes would be better spent actually watching a Grand Prix, which already has enough tension and drama for those seeking-out thrilling entertainment.
Formula One simply does not need a fictional counterpart to capture such qualities, as it already does so in its own right.
As such, I believe that the film’s funding would have been better placed into financing grassroot leagues and teams, and making the sport more accessible for both drivers and fans alike.
Although I can confidently say that I will not be rushing back to watch F1: The Movie anytime soon, it certainly provoked some deeper thought with regard to the evolution of Formula One and its growing fanbase.
Though, if you are not that way inclined mentally, I would perhaps steer clear, and instead use the money to purchase a NOW TV day pass, and experience Formula One how it is intended to be felt.