Brad Pitt’s Formula 1 movie: Flashy tribute or hollow victory lap? The highly anticipated Formula 1 film
F1 is gearing up for global release this week, after its glitzy premiere, but early reviews are sounding a caution flag.
In his review, BBC’s Nicholas Barber delivered a blistering assessment of the film, describing the F1 movie as more corporate celebration than compelling cinema.
The plot follows Pitt’s character, Sonny Hayes, a fallen star of Formula 1 who returns to the pinnacle of motorsport decades after a devastating crash. Once a golden boy of the sport, Sonny now drifts through low-rent races and taxi gigs until his former team boss, Ruben (played by Javier Bardem), offers him a last-chance comeback.
But instead of struggling to reclaim form or confront inner demons, Sonny walks straight into the paddock with swagger intact and skills untouched. From the outset, he’s already a tactical mastermind, inspiring mentor, and all-around cool guy — essentially Brad Pitt playing Brad Pitt, only in a race suit.
Barber argues that F1 is less about character or conflict, and more about polishing the sport’s brand image to a gleam. “It’s essentially a glossy corporate promotional film,” he writes, laden with product placement and fan service, but devoid of real tension or risk.
“There is no wisp of criticism or scepticism, and no hint of anything exploitative or sleazy.” The film’s Formula 1 setting, made with full cooperation from the sport and producers including Lewis Hamilton, “bends over backwards” to ensure everyone, especially Sonny, looks good.
Six harsh truths according to Barber from the BBC review
Barber’s most stinging criticisms paint a picture of a film with missed opportunities and flat execution:
- No character arc: Sonny Hayes starts off perfect and stays that way. “His flaws are fixed, his demons are dead,” Barber notes. There’s no journey — just denim-clad dominance.
- No villains, no drama: Everyone in F1 plays nice. “None of these men is allowed to be a proper antagonist,” which strips the story of any real stakes.
- Corporate overkill: With overwhelming product placement and a lack of gritty realism, it feels more like an extended advert than a feature film.
- Flat dialogue: Lines such as “This is not where you want to be – last place” fail to rise above cliché. Barber slams Ehren Kruger’s script as “rudimentary,” stuffed with “placeholder lines” and clunky exposition.
- Underwhelming racing: Despite real circuits and decent camera work, the races lack urgency. “I was more invested in the podrace in The Phantom Menace,” he quips.
- Missed emotional impact: The film, he says, is a “collection of underdog sports-drama clichés” that never makes the audience care. “It never convinces you that its protagonists are human beings.”
This is not where you want to be
While the direction by Joseph Kosinski (Top Gun: Maverick) and Hans Zimmer’s pounding soundtrack offer some surface thrill, F1 appears to be all revs and no grip. Formula 1 die-hards may enjoy seeing their world on the big screen. But for everyone else, Barber’s verdict is crystal clear: this is not where you want to be.
In closing, Formula 1 veteran and Williams driver Carlos Sainz summed it up best after watching the F1 movie: "They warned us. They said: Guys, we love your sport, we are in love with your sport, but this is Hollywood." Enough said!
Who is Nicholas Barber?
H is is a British film critic and journalist known for his work with the BBC and The Independent
His writing is recognised for its clarity, sharp analysis, and accessible tone, often balancing critical insight with wit.
As a regular contributor to BBC Culture, Barber covers international cinema, Hollywood releases, and emerging filmmakers, bringing a thoughtful perspective to mainstream and independent film alike. Barber’s critiques are widely respected across the UK media landscape for their depth and fairness.
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