Film Review: F1 - The Movie 電影 （2025) - USA
Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 8.5/10
Rating: ★★★★
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The Roar of the Engine and the Rush of Pure Cinema - Director Joseph Kosinski hasn't just made a racing movie. With “F1”, he's bottled lightning again. Following the impossible act that was “Top Gun: Maverick”, Kosinski applies the same alchemy to the world of Formula 1, achieving something remarkable: he transforms the complex ballet of carbon fiber and asphalt into a profoundly visceral, overwhelmingly *physical* experience that transcends its genre trappings. This isn't just a film about racing; it's an immersion tank for the senses, placing you, quite literally, inches from the track at 200 miles per hour. The plot might chart a familiar course, but the sheer, thunderous how
of its execution elevates it into the realm of absolute cinema.
Kosinski's greatest triumph is his unwavering, almost fanatical, commitment to practical reality. Forget green screens and weightless CGI cars. “F1” was filmed during actual Grand Prix weekends in 2023 and 2024. The secret weapon? Custom-built IMAX cameras, lashed onto the very machines tearing up circuits from Silverstone to Monza. The result is unparalleled realism. When the lights go out, you aren't watching a race; you're in it. The perspective is revolutionary – the blur of the track, the terrifying proximity of barriers, the dizzying speed as cars jostle wheel-to-wheel. IMAX isn't a format here; it's the only way to comprehend the scale and velocity. Calling it a "technical marvel," as some have, feels almost insufficient. It's a quantum leap in capturing kinetic energy on film.
Brad Pitt, as veteran driver Sonny Hayes seeking a final shot at redemption, provides the film's surprisingly grounded heart. He exudes a laidback magnetism, a weary grace that feels authentic to a man who's seen the track's beauty and brutality. He's perfectly counterbalanced by Damson Idris, injecting fiery energy as the prodigious, ambitious rookie Joshua Pearce. Their dynamic – mentor and challenger, wary allies – crackles with genuine electricity. The supporting cast adds crucial texture: Javier Bardem is effortlessly charismatic as the passionate, pressure-cooked team owner, while Kerry Condon is a revelation as the razor-sharp, strategically brilliant race engineer, adding vital layers of human drama amidst the roaring engines.
And oh, those engines! The auditory experience is jaw-dropping, a full-body assault. The hybrid power units scream and whine with terrifying, beautiful fury. You don't just hear them; you feel them vibrating in your sternum. Layered over this sonic bedrock is Hans Zimmer's thundering score, a relentless pulse that doesn't just accompany the action but becomes the adrenaline. It’s sound design that doesn't just deserve awards; it demands them, shaking the theater floor and the audience's composure in equal measure.
Yes, the narrative follows a well-worn sports-movie blueprint. The underdog arc, the personal demons, the final showdown – they are present and accounted for. Some critics will rightly note its predictability. But to focus overly on that is to miss the forest for the screaming, nitro-burning trees. Kosinski's kinetic direction is so assured, the racing footage so authentic and breathtakingly captured, that the familiar story beats become secondary to the overwhelming sensory experience. It engages you on a primal level, bypassing the analytical brain and speaking directly to the gut.
“F1” is a must-watch, not merely for racing aficionados, but for anyone who believes in the power of the big screen. It demonstrates what happens when technical ambition, directorial vision, and raw cinematic craft collide at full speed. It makes the predictable exhilarating. It makes the complex visceral. It makes the roar of an engine into a symphony. In short, Joseph Kosinski has done it again, proving that sometimes, the ride itself is far more important than the destination. This is pure, undiluted, big-screen spectacle. Absolute cinema. (Neo, 2026)
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