A BLOCKBUSTER SPECTACLE
OF CINEMATIC EXCELLENCE
In 2022, Navy Captain Pete “Maverick” Mitchell soared back into the spotlight with Top Gun: Maverick, the long-awaited sequel to the 1986 classic Top Gun. Directed by Joseph Kosinski, the film starred Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, and Val Kilmer, and followed Maverick as he confronted his past while training a new generation of Top Gun graduates, including the son of his late best friend, for a perilous mission. After several delays due to the COVID-19 pandemic, Top Gun: Maverick was finally released on May 27, 2022, earning widespread acclaim from both critics and audiences. The film was praised for its direction, storytelling, action sequences, nostalgic callbacks, musical score, and performances, many even hailed it as superior to its 1980s predecessor. It became a global phenomenon, grossing $1.496 billion worldwide, making it the second-highest-grossing film of 2022 (just behind James Cameron’s Avatar: The Way of Water) and earning a slew of award nominations. Now, several years later, director Joseph Kosinski is back in the driver’s seat, not in the sky, but on the racetrack, as Warner Bros. Studios and Apple TV present the high-octane sports drama F1 (or F1: The Movie). But does this new film race to the cinematic finish line with style and adrenaline-pumping flair, or does it sputter out beneath the weight of predictability and a familiar sports-movie formula?
THE STORY
Back in the 1990s, Sonny Hayes (Brad Pitt) was a rising star on the Formula One circuit—brimming with promise and poised for greatness. But a career-derailing accident forced him off the fast track, leading to years spent drifting between middling racing gigs and personal demons. Now, in the present day, Sonny may be older, but he hasn’t lost his touch. His former partner, Ruben Cervantes (Javier Bardem), believes the veteran still has something special and persuades him to join Apex Grand Prix—a struggling team in the midst of a dismal season. The team’s current lead driver, the talented but inexperienced Joshua Pearce (Damson Idris), isn’t thrilled about sharing the spotlight. As Sonny returns to the world of elite racing, he finds himself navigating tension with the fiercely intelligent and sharp-tongued technical director, Kate McKenna (Kerry Condon), while trying to rebuild his legacy. Meanwhile, Joshua, eager to prove himself and forge his own path to glory, sees Sonny as both a threat and a challenge. As the team enters the second half of the racing season, the two men clash on and off the track, traveling the globe in a high-stakes journey of rivalry, redemption, and personal reckoning.
THE GOOD / THE BAD
There’s no denying the simple fact that Top Gun: Maverick was a massive success, both critically and financially. It was a blockbuster through and through, but one that was done right. It’s my go-to movie whenever I want something thrilling and emotionally satisfying, and I still enjoy it immensely from start to finish. Much of its success stems from the strength of its source material, the original Top Gun, a classic standalone ’80s film packed with iconic one-liners, slick action, and era-defining drama. And in my opinion, part of what makes the sequel work so well is that the Top Gun brand wasn’t oversaturated with spin-offs, sequels, or endless marketing tie-ins. It was just the one film. That simplicity made Maverick feel like a true continuation, not a cash grab, and gave it a sense of authenticity and heart that many modern legacy sequels lack.
Credit goes to director Joseph Kosinski and, of course, to Tom Cruise, who returns to reprise his role as Pete “Maverick” Mitchell. From a directing standpoint, Kosinski knows how to stage thrilling, immersive action scenes. He puts viewers right inside the cockpit, making them feel every sharp turn and gravity-defying maneuver. Even the character drama, while familiar at times, was executed with enough sincerity and polish to feel compelling. As for Cruise, he’s as solid as ever. I’ve always loved him as Maverick (just as much as I love him as Ethan Hunt in the Mission: Impossible series), and here, he delivers a more mature, introspective version of the character….older, wiser, and still full of that unmistakable Cruise charisma.
Everything from the production design to the sound mixing, cinematography, and score worked in perfect harmony, enhancing the film’s presentation at every turn. And I’d be remiss not to mention Lady Gaga’s song “Hold My Hand,” which has been permanently etched into my memory, for all the right reasons. It’s beautiful and powerful in its own right, perfectly capturing the emotional tone of the movie.
In the end, Top Gun: Maverick wasn’t just another overhyped sequel, it spoke for itself. It flew higher than most legacy follow-ups, embracing nostalgia without being shackled by it, and delivering pulse-pounding action with cinematic grace. It didn’t just shine….it soared.
This brings me back around to F1 (or F1: The Movie), the 2025 sports drama and the sixth feature film directed by Joseph Kosinski. While there was another film in between Top Gun: Maverick and this one, Spiderhead, it received mixed reviews. It was decent, but nothing particularly noteworthy, especially when compared to the scope and success of Kosinski’s other work. So, following the massive impact of Top Gun: Maverick, it was only natural that Kosinski would aim to replicate that same blockbuster energy, this time channeling it through the high-speed world of Formula One racing. On paper, it sounded like a perfect fit for his style. I still remember when the project was first announced, and like many others, I was genuinely excited, especially with Kosinski at the helm and Brad Pitt attached as the lead.
For a while, news about the film trickled in slowly, small updates here and there across the internet. But then the marketing campaign kicked off, and trailers began hitting theaters. From those previews alone, the film promised to deliver that same adrenaline-pumping, cinematic flair that Top Gun: Maverick had offered, which only heightened anticipation. I’ll admit, I had a hunch it might follow a traditional “underdog” sports drama formula, something very familiar within the genre, but the same was said about Maverick, and look how well that turned out.
So, without a doubt, I was pumped to see F1 when it was slated for release on June 27, 2025. I caught it on opening night, but between a hectic work schedule and finishing up other reviews, I had to delay writing this one. Now, with all of that behind me, I’m finally ready to share my thoughts. And what did I think of it? Well….I loved it.
Despite some predictable beats that come with the territory, F1 is a tour-de-force of cinematic visuals and immersive sound design, backed by a charismatic performance from Brad Pitt and a strong supporting cast. While Top Gun: Maverick still edges it out in terms of impact and execution (at least in my opinion), this racing drama confidently crosses the finish line as a worthy spiritual successor. It may not reinvent the genre, but it delivers the thrills, heart, and spectacle fans hoped for.
As mentioned, F1 is directed by Joseph Kosinski, whose previous works include Top Gun: Maverick (of course), as well as Only the Brave, Oblivion, and Tron: Legacy. Given his experience handling long-awaited sequels with blockbuster visual flair, as seen in Maverick, Kosinski seemed like an ideal choice to bring a sports drama centered on Formula One racing to the big screen. And in many ways, he absolutely delivers. He brings the same energy, cinematic precision, and immersive style that made Top Gun: Maverick such a standout experience.
Yes, you’ll hear me make quite a few comparisons between F1 and Top Gun: Maverick, and for good reason. Both films share similar tones, stylistic choices, and even a few narrative beats. That’s to be expected, especially with Kosinski at the helm of both projects. He knows how to blend action, drama, and spectacle into a cohesive whole, and that skill is once again on full display here. There’s a strong sense of direction throughout, with Kosinski managing the film in a way that elevates its story while giving it a visually compelling identity. In short, he plays to his strengths, approaching F1 with the same blockbuster sensibility that helped Maverick soar. And for audiences seeking a slick, summer crowd-pleaser, this movie delivers.
Another standout element is the film’s level of respect and attention to detail when it comes to Formula One racing, the sport itself, the drivers, the behind-the-scenes teams, and the cultural significance surrounding it. Now, I’ll admit: I’m not a die-hard racing fan. I enjoy racing movies and I’m familiar with Formula One, but I wouldn’t call myself deeply knowledgeable about the sport. That said, I found it fascinating how Kosinski and his filmmaking team presented the racing world in a way that felt theatrical yet grounded. From the design of the tracks and the technical setups in the pit, to the operations of the teams and the corporate interests behind them, F1 does a solid job of fleshing out this environment in a believable, well-rounded fashion.
Of course, I’m sure some aspects are heightened for dramatic effect, that’s the nature of film, but it’s clear that Kosinski has genuine respect for the sport. That authenticity helps lay a strong foundation, giving even casual viewers (like myself) a deeper appreciation for the inner workings of Formula One. It makes the world feel lived-in, respected, and engaging, even for those unfamiliar with the finer details of the sport.
Naturally, the film’s racing sequences are the big draw, and they’re absolutely a highlight. Kosinski, along with his technical team, brings high-octane intensity to every race. Much like he did with aerial dogfights in Top Gun: Maverick, he places the viewer right in the driver’s seat. The close calls, the split-second decisions, the roar of the engine, the blur of motion, it all comes together in a thrilling, pulse-pounding way. The camera work is especially noteworthy. Apple, which produced the film, reportedly developed custom onboard cameras for the race cars, and, with help from Sony, managed to fit four lenses into each vehicle. The result is an incredibly immersive visual experience, capturing both the driver’s perspective and the chaos happening around them with stunning clarity.
These sequences are where F1 truly shines, offering up blockbuster-level thrills with precision and finesse. The action is suspenseful, the sound design is powerful, and the visuals are nothing short of captivating. For fans of intense, finely crafted stunt work and cinematography, F1 absolutely delivers the goods.
When it comes to presentation, F1 is another triumphant addition to Joseph Kosinski’s filmography, packed with striking visual cues and sleek backdrops that ground the movie in real-world realism while elevating it with lavish cinematic flair. This is yet another area where Kosinski and his creative team truly shine, adding layers of authenticity through meticulous attention to detail. From the finely crafted environments to the intricacies of the racing world, the film’s backdrop feels both immersive and true to life.
One of the smartest decisions Kosinski made was filming at real, world-famous Formula One tracks. These include the Hungaroring, Spa-Francorchamps, Monza, Zandvoort, Suzuka, Autódromo Hermanos Rodríguez, Las Vegas, and Yas Marina….just to name a few. Their inclusion helps root the film in a tangible racing culture, adding legitimacy for fans and newcomers alike. The production design is equally impressive, with sleek training hubs, pit areas, and garage setups that look authentic and visually engaging. The costume design, too, delivers a grounded, believable look for the drivers, teams, and corporate personnel.
Major credit goes to the behind-the-scenes team for bringing this world to life. That includes production designers Ben Munro and Mark Tildesley; set decorators Ali Hass Muhammad Aslam, Ferdinand Castro Del Rosario, Reynan Castro Del Rosario, Pranali Diwadkar, Andrew McCarthy, Veronique Melery, and Joan Santos; costume designer Julian Day; and the full art direction department. Their collective effort shows a clear respect for the Formula One world while pushing the film toward big-screen spectacle.
On a personal side note…..this part really hit home for me. I live just outside Daytona Beach, Florida, and some scenes in F1 were actually filmed here during the Daytona 500 segment. Specifically, the racing shots were done in January 2024 during the Rolex 24 endurance race, and additional filming took place at Pappas Drive-In & Family Restaurant in New Smyrna Beach, my hometown. Sadly, Pappas was destroyed by a fire just months after filming wrapped, which makes its appearance in the movie feel even more special. Brad Pitt himself was present for the shoot, and the whole community lit up with excitement. It was nearly impossible to get near the filming locations, but still, it was incredibly cool to see places I know featured in a movie of this scale.
Cinematography-wise, F1 is just as visually dynamic as Top Gun: Maverick. Claudio Miranda, Kosinski’s frequent collaborator, once again delivers stunning visuals that elevate the film to a fully immersive experience. His work captures the speed, danger, and elegance of Formula One racing, placing the viewer inside the car and alongside the action with dramatic, fluid camera work and breathtaking aerial and track-level shots.
The sound design is equally exceptional. Every gear shift, screeching tire, and roaring engine is brought to life with a fierce intensity, filling the theater with the kind of audio clarity and impact that blockbuster filmmaking demands. The sound team, across design, editing, and mixing, deserve high praise for creating a soundscape that is both visceral and deeply cinematic.
Finally, the film’s score, composed by the legendary Hans Zimmer, adds another powerful layer to the experience. While it may not be as rousing as Top Gun: Maverick or as sweeping as Dune, Zimmer’s music in F1 is still fantastic in its own right. It perfectly matches the pulse-pounding action of the races and brings a sense of emotional weight to the quieter, character-driven moments. The film also incorporates a number of licensed tracks from various artists. While most of these work well in context, I personally would’ve preferred more of Zimmer’s score to take center stage over the occasional album-style song insert. But that’s just a matter of personal taste.
While there’s a lot to admire about F1, the film isn’t without a few minor snags in its overall structure and execution. These issues, while not significant enough to distract from the sheer spectacle it offers, do hold the movie back from reaching the same cinematic heights, and emotional resonance, as Top Gun: Maverick.
So, what are the shortcomings? For starters, F1 leans heavily into the well-worn beats of the classic sports drama underdog tale. Despite Kosinski’s efforts to craft a visually striking film, the story itself is steeped in the familiar melodrama of the genre, filled with tropes and narrative clichés that fans have seen many times before. These pitfalls are fairly common in sports dramas, especially when aiming for that rousing, feel-good finale. And like many racing-centered films (i.e. Rush, Ford v Ferrari, and Gran Turismo) to name a few, F1 follows a very recognizable formula. The plot hits expected beats, and while the execution is often engaging and intense, there’s very little in the way of surprise. You can more or less see where the movie is headed within the first few minutes.
That’s not necessarily a bad thing, F1 embraces its “comfort food” appeal on a grand cinematic scale. It’s more about the experience than originality, and in that regard, it succeeds. Still, the story boils down to a familiar tale: the gruff, old-school “gunslinger” meets the raw, impulsive new “hotshot.” Even the racing stakes follow a predictable rhythm, including devastating wrecks, potential career-ending injuries, and high-stakes corporate interference. Again, these aren’t deal-breakers, especially given how spectacular the visuals are, but they do limit the story’s depth. In the end, F1 is a tried-and-true sports drama, flaws and all, elevated by its technical polish and cinematic presentation rather than by fresh storytelling.
Alongside that, I felt that several subplots and supporting characters could’ve used more development. With a runtime of 155 minutes (two hours and thirty-five minutes), F1 certainly has room to explore deeper emotional arcs and expand its ensemble, but most of the narrative focus is placed squarely on Sonny, which makes sense, given that Brad Pitt is the leading man and the marquee name. However, this spotlight comes at the cost of underdeveloped secondary threads. The script, written by Kosinski along with Ehren Kruger, struggles to balance its broader story with the character subplots, leaving many of them feeling undercooked.
This issue is not unfamiliar. Top Gun: Maverick, which was also penned by Kosinski and Kruger, had a similar problem, leaning on a straightforward plot while leaving some subplot ideas lightly sketched. F1 follows the same pattern: it introduces character dynamics and storylines that are interesting but not fully realized or followed through. It’s not a major flaw, but it’s noticeable, especially for viewers hoping to see a richer tapestry of characters and motivations, some of whom I’ll talk more about below.
What helps elevate some of the film’s shortcomings is the cast of F1, a collective group of both recognizable names and lesser-known talents who bring their characters to life in a way that complements the story’s structure and pacing. While some characters could’ve benefited from more development to flesh out their personalities and arcs, what is presented generally works well for the narrative the film wants to tell.
Leading the charge is Brad Pitt as Sonny Hayes, a former Formula One driver from the 1990s who’s now a nomadic racer-for-hire, drawn back into the F1 world by APXGP. Known for roles in Fight Club, Seven Years in Tibet, and Inglourious Basterds, Pitt needs no introduction. He’s a true A-lister, and his commanding screen presence has been a staple of his career for decades. It’s no surprise that he takes on the lead in a film like F1, and he does so with confidence and charisma. In many ways, Pitt’s role here is the F1 equivalent of Tom Cruise in Top Gun: Maverick, a seasoned actor anchoring the film as the veteran figure who must clash with younger counterparts and navigate his own past. The comparisons between the two films, both directed by Joseph Kosinski, are inevitable—but also effective.
Pitt brings a mix of humor and gravitas to Sonny, making him both compelling and entertaining. The character falls into the well-worn “aged gunslinger” archetype, cynical but experienced, cocky yet haunted by his past. And while it’s a familiar setup, it works. Pitt adds a playful swagger to the role, giving Sonny a world-weary charm that makes him easy to root for. There’s also emotional depth beneath the surface, a man trying to redeem himself by helping a younger driver avoid the mistakes he once made. It almost feels a bit like Cars 3, but in live-action form, and I mean that in the best way. Pitt shines in the role, and F1 benefits greatly from his performance.
Opposite Pitt is Damson Idris as Joshua Pearce, the hotheaded young rookie who races for APXGP and becomes both Sonny’s teammate and rival. Known for roles in Snowfall, Outside the Wire, and Farming, Idris is likely the least-known among the film’s leading cast, but that doesn’t diminish his impact. He slides effortlessly into the role of Joshua, a brash and ambitious driver with a chip on his shoulder and something to prove. His inexperience makes him a perfect foil for Sonny’s seasoned cool, and Idris plays the part with energy and conviction. While his character’s arc could’ve been given more screen time for added depth, Idris still manages to make Joshua engaging and ultimately rewarding by the film’s end.
Together, Pitt and Idris share solid chemistry, with their banter and character interplay serving as one of the film’s highlights. There are humorous exchanges, tense confrontations, and genuine moments of connection between the two. I do think one or two more scenes to deepen their dynamic—either through conflict or cooperation, would’ve strengthened their arcs even further. Still, their relationship anchors much of the emotional tension in the film and works well thanks to the strong performances.
Among the supporting cast, Kerry Condon stands out as Kate McKenna, APXGP’s technical director and Sonny’s love interest. Known for her work in Rome, Captain America: Civil War, and The Banshees of Inisherin, Condon may not be a household name, but she’s a talented and versatile actress with a strong screen presence. Her portrayal of Kate is full of wit, grit, and intelligence, making her a perfect match for someone like Sonny. She brings a spirited energy to the role that keeps Kate from feeling like a standard love interest. That said, the romantic subplot could’ve used a bit more development. It works in context, but more time spent exploring their bond would’ve added emotional weight. Regardless, Condon is terrific, and her performance adds a welcome layer to the film.
In smaller but impactful roles, Javier Bardem and Tobias Menzies appear as Ruben Cervantes, APXGP’s team owner and Sonny’s former teammate, and Peter Banning, a corporate board member. Of the two, Ruben receives more screen time and development, with Bardem bringing his usual blend of gravitas and humor to the part. His connection to Sonny feels authentic, and Bardem handles the role with charm and authority. Menzies, on the other hand, plays the more archetypal “corporate suit”, a boardroom figure representing the business side of racing. It’s a convenient character type, but Menzies plays it well, adding just enough nuance to make it effective within the story’s framework.
One supporting character worth mentioning is Jodie, a pit stop tire gunner for APXGP, played by Callie Cooke (The Stranger, Informer). Jodie appears multiple times throughout the film and is framed as if she’s meant to have a bigger role. However, she ultimately fades into the background with little payoff. It feels as though her character was once intended to have a more significant subplot, perhaps something that was trimmed during editing. Cooke gives a fine performance, but the character ends up feeling like a remnant of a discarded idea. It’s a small but noticeable example of a missed opportunity in fleshing out the ensemble.
The rest of the cast, including actor Kim Bodnia (The Witcher and The Bridge) as APXGP team principal Kaspar Smolinski, actress Sarah Niles (Ted Lasso and Fallen) as Joshua’s mother Bernadette Pearce, actor Will Merrick (About Time and Skins) Sonny’s APXGP race engineer Hugh Nickleby, actor Joesph Balderrama (The Batman and Heartstopper) as Joshua’s APXGP race engineer Rico Fazio, actor Abdul Salis (Mufasa: The Lion King and Love Actually) as APXGP chief mechanic Dodge Dowda, actor Samson Kayo (House of the Dragon and Puss in Boots: The Last Wish) as Joshua’s cousin / manager Cashman, actor Simon Kunz (Blithe Spirit and The Parent Trap) as F1 broadcaster Don Cavendish, actress Liz Kingsman (Borderline and Parlement) as APXGP PR agent Lisbeth Bampton, stuntman / actor Luciano Bacheta (Mission Impossible – Dead Reckoning and The Mummy) as APXGP reserve driver Luca Cortez, actor Shea Whigham (Boardwalk Empire and Silver Linings Playbook) as Chip Hart, owner of Chip Hart Racing, and actor Kyle Rankin (Desperation Road and Burden of Proof) as Sonny’s teammate for Chip Hart Racing named Cale Kelso, make up the minor supporting characters in the movie. Naturally, some of these roles are larger than others, while some could’ve been expanded upon easily, but, for the most part, the acting talent involved within this group is solid across the board, having their one or two moments in the spotlight here and there.
Lastly, F1 enhances its sense of real-world authenticity by featuring actual Formula One drivers and personnel appearing as themselves. Set during the 2023 Formula One season and filmed across both the 2023 and 2024 seasons, the movie incorporates real-world teams, figures, and achievements from that period. This decision by Kosinski and his crew adds a layer of realism to the film’s atmosphere, grounding the story within the genuine culture and spectacle of professional racing.
As I’ve mentioned before, I’m more of a casual observer when it comes to Formula One, so I’m not entirely familiar with the key players or the on-camera personalities of each team. Still, I can recognize and appreciate how much this inclusion adds to the film’s credibility. For dedicated fans of the sport, seeing their favorite drivers, team members, or familiar faces seamlessly woven into the background will likely be a fun and rewarding experience, making F1 feel even more connected to the real racing world.
FINAL THOUGHTS
Aged racer Sonny Hayes, the best that “never was”, gets a second shot at Formula One glory, drawn back into the high-stakes world of elite racing. As he learns the mechanics of a new era and clashes with a talented yet raw rookie teammate, F1 unfolds as a high-octane journey of legacy, mentorship, and redemption. Director Joseph Kosinski’s latest film takes to the track and burns rubber in an exhilarating sports drama that’s as much a visual spectacle as it is a classic tale of “teaching an old dog new tricks.” The result is another win for Kosinski and his creative team, a film that races toward the finish line with technical precision and cinematic flair. While it occasionally stumbles under the weight of familiar underdog tropes and underdeveloped subplots, the film never loses momentum thanks to its compelling direction, pulse-pounding race sequences, immersive Formula One detail, and strong performances, especially from its leading cast. Personally, I loved this movie. It was everything I hoped for: thrilling, bold, emotional, and visually stunning. From its opening moments to its final lap, F1 delivers a sports drama packed with heart, humor, and adrenaline, brought to life in a way only Kosinski could. Does F1 surpass Top Gun: Maverick? No…but it doesn’t need to. It stands tall as a spiritual companion piece, cut from the same cloth of blockbuster excellence. Thus, my recommendation for this movie would be satisfying “highly recommended”, especially for casual viewers, Formula One fans, sports drama enthusiasts, or summer moviegoers alike, this film offers something worth cheering for. In the end, F1 finds its rhythm through cinematic craft and theatrical scale, charging toward the checkered flag with bold direction, technical brilliance, and emotional power. It’s a film that proves, once and for all, that even those written off as “never was” can still come roaring back, finding redemption, purpose, and glory both on the track… and within the heart.
4.5 Out of 5 (Highly Recommended)
The Official Website for F1 (2025) Link: HERE
Released On: June 26th, 2025
Reviewed On: July 14th, 2025
F1 is 156 minutes long and is rated PG-13 for strong language and action
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