F1 Movie: A formula of what could have been
The F1 movie has frozen time at its peak. Carlos in red, Hamilton in Mercedes, Sergio in Red Bull, and of course, Steiner in the ever glory of Haas. For long-time followers, this visual alone evokes a carefully preserved Formula One memory, presenting the sport of everglory in one of its most recognisable modern phases.
And that, perhaps, is where the film succeeds the most.
From the opening laps to the final showdown, the visuals are undeniably stunning. The cinematography delivers everything a motorsport fan could ask for: gleaming floodlights, trackside uncertainty, the violence of speed, and the glamour that has come to define Formula One’s global image. The cars look spectacular, the paddock atmosphere feels immersive, and the race sequences are crafted with breathtaking precision.
But beyond the extravaganza lies a problem the film never truly escapes, its complete lack of surprise.
The storyline unfolds in an almost painfully predictable manner, moving from one expected moment to the next without ever challenging the audience. Every rivalry, every emotional setback, and every triumphant moment feels telegraphed far in advance. For a sport built on split-second unpredictability, safety cars, strategy gambles, and chaotic outcomes, the film ironically delivers a narrative with very little tension.
That is what makes the viewing experience bittersweet for an F1 fan.
On one hand, the sport has rarely looked this beautiful on screen. On the other hand, the film’s inaccuracies are just as massive as its visuals are polished. The racing world portrayed often feels less like Formula One and more like a dramatised, fantasy version of it, something closer to fan fiction than authentic sports storytelling.
A major issue lies in the central performance. Brad Pitt simply does not suit the film’s world. His presence never fully blends into the hyper-specific, technically demanding environment of Formula One. Rather than disappearing into the role, he often feels like a Hollywood star placed inside a racing simulator. The performance lacks the raw edge, urgency, and lived-in realism needed for a story set in one of the most intense sports in the world.
Perhaps the most unrealistic aspect, however, is the engineer-driver trope, especially the dynamic between a male driver and a female engineer, which is often framed in a romanticised way. While the trope may work cinematically, it feels deeply disconnected from the realities of Formula One culture. The professional boundaries, high-pressure communication systems, and public scrutiny within the paddock make such a storyline difficult to accept as believable. In real life, it simply would not have worked the way the film presents it.
Ultimately, the F1 movie is a visually brilliant but narratively safe project, one that celebrates the sport's aesthetics while often misunderstanding its essence. For fans, it offers nostalgia, gorgeous racecraft, and iconic grid memories, but it also leaves behind the nagging sense that what could have been an authentic motorsport drama turned into something far more fictional.
A thrilling watch for the eyes, perhaps. But for the heart of a true Formula One fan, it remains frustratingly hollow.
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