From the deafening roar of racecar engines to racers zipping past in a ferocious blur of color, watching drivers hit top speeds in an auto race is nothing short of thrilling. If you’re chasing this exhilaration, look no further than director Joseph Kosinski’s latest film, “F1: The Movie.” But if you’re seeking a more nuanced story, you might be disappointed.
“F1” follows the waning career of racing driver Sonny Hayes (Brad Pitt), who is recruited by his former teammate Ruben Cervantes (Javier Bardem) to save Ruben’s racing team from total failure. Sonny — who suffered a devastating crash that cut his career short three decades prior — agrees to Ruben’s proposition, and the film takes on a stereotypical comeback story. The numerous predictable setbacks and competition from a prototypical newcomer, Joshua Pearce (Damson Idris), on his team make for a plot that is simply adequate.
The plot of “F1” follows a classic three-act structure, making it overly neat, predictable and thoroughly unstimulating. This flatness is the film’s biggest miss: The adrenaline rush of “F1” dissipates after its conclusion. The film’s comeback story makes a meager attempt to illustrate perseverance driven by passion, but falls short of having any profound impact on its viewers — a stark contrast from the other films nominated for best picture at the Oscars.
The film redeems itself in its technical aspects, thrusting viewers onto the race track — the audience is not kept on the sidelines. In racing sequences, the film lets its audience see through the eyes of the drivers, replicating the experience of pulling top speeds in a Formula 1 race. The camera zooms across the track with the racers, adding dynamic movement that’s almost as exhilarating as being in the car yourself.
The film’s sonic elements add another layer to the chaos of F1 racing, with sounds of cheering crowds and growling engines layered over live commentary and radio communications. Hans Zimmer’s original score, coupled with an upbeat soundtrack featuring artists such as Doja Cat, Don Toliver and Tate McRae, heightens the competitive feel.
The cinematography, audio, music and editing brings viewers into the driver’s seat. But while the suspense and chaos make “F1” entertaining, the film’s excitement stops there. In the race for the best picture, a win for “F1” seems unlikely.
Manav is a senior from Indiana, concentrating in International and Public Affairs. In his free time, he likes attempting the daily Connections puzzle or falling down Wikipedia rabbit holes.
