In one sentence: F1 follows an ageing racing driver who is lured back onto the Formula One circuit to help rescue a struggling team, forcing him to confront his past, his limitations and a fiercely competitive young teammate.

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Summer blockbusters are not typically the Academy’s favourites, but perhaps the tides are beginning to turn. With Top Gun: Maverick earning a Best Picture nomination and now F1 entering the conversation, it raises the question of whether large scale crowd pleasers are finally gaining traction alongside more traditional prestige films.

The movie introduces Sonny Hayes (Brad Pitt), a veteran driver working the night shift at Daytona. His age is highlighted from the outset and remains a recurring theme throughout. When his team wins, he shows little interest in trophies or luxury prizes, taking only his cheque before disappearing. He is soon approached by former rival and friend Ruben (Javier Bardem), who invites him to join his struggling Formula One team, APX. We learn that Sonny’s once promising career was cut short, leaving unfinished business and a lingering hunger to get back in the driver’s seat. He accepts the offer and arrives at Silverstone where he meets the team’s ambitious rookie driver Joshua Pearce (Damson Idris). Their relationship is predictably tense, representing a clash of generations as well as two competing underdog narratives within a team desperate for a podium finish.

Despite its enormous budget, the story is highly formulaic. It unfolds almost exactly as you would expect, rarely veering off course or demanding much imagination from the audience. This is a film that encourages you to sit back, disengage and simply enjoy the ride. You do not need to understand Formula One to follow the plot because the mechanics of the sport are explained clearly through commentary during the extended racing sequences. While the Academy often favours originality, this film opts for accessibility and broad appeal, designed to cruise comfortably into mainstream success.

Brad Pitt delivers a performance built on his familiar screen persona. He is charismatic, confident and quietly rebellious. His chemistry with Damson Idris works well, emphasising the contrast between experience and youthful ambition. Sonny’s age is referenced repeatedly, reinforcing the idea that elite sport belongs to the young, though the script attempts to counter this by referencing real drivers who competed successfully later in life. The film acknowledges the implausibility with a degree of self-awareness.. Inevitably, a romantic subplot appears in the form of Kate (Kerry Condon), the team’s Technical Director. Her dynamic with Sonny follows a familiar love hate trajectory.

Technically, the film excels. The sound design and cinematography are particularly strong, capturing the speed and danger of Formula One in a way that feels immersive even for viewers with little interest in motorsport. Sonny’s rebellious driving style introduces additional drama, bending the rules and pushing the limits, while the inclusion of real racing figures. notably Producer, Lewis Hamilton, in a small cameo, adds authenticity for fans. These sequences are where the film truly hits top gear.

However, the narrative remains firmly rooted in Hollywood fantasy. Sonny is portrayed as someone whose instinct and experience alone can transform a failing team into a contender. Obstacles arise in the form of accidents, injuries and corporate interference, particularly from a calculating board member played by Tobias Menzies, but the direction of the story never feels uncertain. You always know where this race is headed.

Overall, F1 is a slick, high octane crowd pleaser that opens the world of Formula One to a wider audience through star power and spectacle. While it delivers excitement and visual flair, its predictable structure prevents it from overtaking the genre’s most memorable sporting dramas. It is nevertheless an entertaining lap around the track.

★★★ (3/5)