F1: The Movie review - fantastic but flawed
- DIVEBOMB Motorsport
- Jun 30
- 16 min read
Reviews from Owen Bradley, Vyas Ponnuri, Meghana Sree, Isha Reshmi Mohan, Kavi Khandelwal, Zoha Wyne and Bailey Defoor
SPOILER WARNING - This article contains spoilers for F1: The Movie.
F1: The Movie premiered in theatres across the world last week. Our writers delve into the film and assess various topics like the narrative, racing action, representation, technicalities, acting and more in this article.
A major plot hole, but what was the actual point of this film? - Owen Bradley: 7/10 - Decent fun
I love films and motorsport, and therefore I love films about motorsport. Disney Pixar’s Cars franchise, Ron Howard’s Rush (2013) Mangold’s Ford vs Ferrari (2019) as well as motorsport documentaries like MotoGP’s Hitting the Apex (2015) and Senna (2010) are all stand-out films and stories that have been put to the screen.
However, F1: The Movie, is entirely fictional and is not based on a true story unlike Ford vs Ferrari and Rush. F1 certainly succeeds in many areas like acting and racing action, but ultimately fails in delivering a film that appeases F1 fans for a variety of reasons.
To start off with, absolutely the biggest problem I have with this film is the gigantic plot hole. At the end, Hayes wins the Abu Dhabi Grand Prix which subsequently keeps Apex GP alive in F1 for the future. However, Hayes does not turn up to the Abu Dhabi Grand Prix weekend until Sunday, and in fact replaces their reserve driver for the Grand Prix.
In reality, this goes against article 32.2 of the FIA Sporting Regulations, which state: “A change of driver may be made at any time before the start of the sprint shootout at each Competition where a sprint session is scheduled, or at any time before the start of the qualifying session at each Competition where a sprint session is not scheduled”
We saw this with Lance Stroll just a few races ago at the Spanish Grand Prix. Stroll became injured after Qualifying and was unable to race in the Grand Prix. However, Aston Martin were not able to replace Stroll due to drivers not being able to be replaced if they have already participated in Qualifying. Therefore, Hayes should not have been able to participate in the Abu Dhabi GP and shouldn’t have been able to win the race.
Aside from the major plot hole, Joseph Kosinski’s F1 Movie has a strong lead in Brad Pitt, who plays Sonny Hayes. Pitt carries the film’s plot with charisma and an “old school” approach to racing. The best scene in the entire film for me, was the opening scene at the IMSA 24 Hours of Daytona.
Seeing a GT race being creatively filmed with a Hollywood budget was incredibly special, and the atmosphere of Daytona provided for an amazing spectacle, as well as showcasing Hayes’ “Rough and Tumble” personality, getting into an argument with a driver on track and clutching a spanner in one hand.
However, there are some gravity-breaking physics in this film, like when Joshua Pearce ends up going over the tyre barriers at Monza’s Parabolica. This scene also points out another glaring flaw in this film, the masking of different circuits masquerading as others. Brands Hatch particularly, is used at the start of the film in place of the Jerez circuit, and is later used as the Monza circuit too. This is an issue that Rush fell into, but Ron Howard did a far better job in masking this continuity error.
I found myself questioning why this film even exists, is it to motivate American and global audiences into attending F1 races? Was it simply a light-hearted film? It certainly wasn’t a documentary made to inform new fans about the sport… So what was the point of this film?
Overall, this is a fun, light-hearted film with great spectacle. But if you look deeper into the details, there are many glaring flaws with this film, and a completely story-destroying plot hole too.
A movie as original as its title – Meghana Sree: 6/10
You need only two things to enjoy F1: The Movie: zero expectations and suspension of disbelief. The two-hour commercial for Formula One delivers everything you’d expect from the man who directed Top Gun: Maverick. Atmospheric adrenaline, immersive camera work and breathtaking technical achievement. Safe to say, 2025 called for a summer blockbuster and F1: the Movie picked up the phone. It’s only unfortunate that they left the plot in the pits.
Underneath the veneer of impressive cinematography and high-octane action, it quickly became clear that there were hardly any stakes driving the narrative, while the script felt like a rehash of the ‘veteran returns for one last ride’ plot archetype.
Despite leaning heavily into clichés, the movie is a masterclass in smoke and mirrors. There’s absolutely no time to think about loose ends in the script when you’re being swept away by the spectacle of Grand Prix racing brought to life on IMAX screens.
On the flipside, when we’re not drawn into the racing scenes, the characters only barely convince you to root for them. There’s no denying that Sonny Hayes’ old-school air and Joshua Pearce’s suave rookie act pull you in – but ultimately they’re quite forgettable.
Yet in retrospect, even this lack of depth can be excused when it’s eclipsed by a much larger disappointment: the upsetting representation of women in motorsport. Kerry Condon’s role as APX GP’s Kate McKenna, the first female Technical Director in F1 history, had mountains of potential and promise.
The exposition gave a solid foundation to her character, but soon enough, it felt like the writers suddenly remembered that they needed someone to have a fling with Hayes, because why not? Lo and behold McKenna was right there. Surely this won’t add more damage to women’s representation in this sport; representation that’s already hard to come by.
Out of all the directions they could’ve taken with McKenna, a romantic relationship with her own team’s driver was the worst possible choice for both the movie’s narrative and its slim chance of passing the Bechdel test. Whatever development her character had enjoyed across the first half was promptly thrown out the window in Vegas and the culmination of her arc left a bad taste in my mouth.
Considering this contrived relationship is of no consequence to the story, it was baffling to see McKenna as the movie’s romantic interest when there was so much fertile ground to be explored with her character. In the era of F1 Academy that champions female representation and inclusion, this movie sends across a damaging message to global audiences, setting F1’s reputation back by years.
Apart from reservations with the plot or characters, pedantic F1 fans will have lots to narrow their eyes at, like the liberal dramatic license taken with race strategies and crashes. However, even the harshest of critics will be blown away by the technical prowess and gripping racing action accompanied by Hans Zimmer’s breath-taking score.
For all its numerous pitfalls, pun intended, F1: The Movie is this year’s summer hit that’s sure to bring an influx of new fans to the sport. Meanwhile for long-time fans, the cameos from F1’s famous personalities, cheeky radio and commentary references and the many easter eggs are especially rewarding. With plenty of memorable moments, including Fernando Alonso’s exchange with Hayes (an ironic nod to the infamous 2008 Singapore GP) and the team principals getting their chance to shine, F1: The Movie is packed with iconic scenes.
The bottom line is, this is a movie meant to be enjoyed lightly: it’s an escapist sensory delight and tropey enough to appeal to a broad demographic beyond F1’s well established fanbase. If only the movie had represented women better, which isn’t a hard ask for a 2025 release, there would’ve been more to like.
Cinema is back but where did the practice and qualifying sessions go? - Isha Reshmi Mohan: 8/10
Following early comments from the driver about not taking the film too seriously, and with Hollywood’s heavy involvement, expectations were modest going in. Fortunately, the opening scene sets the tone well and the story stays somewhat grounded. Sonny’s loosely ‘active’ racing status adds a touch of realism and helps set up the film’s stronger racing sequences.
The filmmaking is likely one of the main draws, with Joseph Kosinski at the helm following his success with Top Gun: Maverick. Paired with a solid score by Hans Zimmer, the film’s technical execution is strong and visually impressive. However, the plot is highly predictable, offering few surprises.
While the humor and visuals entertain, the plot raises questions about the overall purpose. Was it really necessary to aim for such realism and scale for a story that delivers so little in return?
Despite a cliché storyline that only sinks in afterward, the film remains engaging throughout its lengthy runtime. It’s filled with over-the-top heroic dialogue, frequent jokes, and a handful of fun moments. Cameos from team principals, drivers, and even Roscoe add charm as well.
That said, the film could have benefited from more realistic elements, such as clearer references to practice and qualifying sessions. These aspects were barely mentioned, creating the impression that the characters only appeared on race days. Integrating key rules into the dialogue more naturally would have also helped the newcomers.
In the end, the film aimed to introduce Formula One to a broader audience and honestly and it just might, thanks to the action-packed moments that spark curiosity for the sport.
F1: The Movie review: A tale of two audiences - Kavi Khandelwal: 7/10
When Kimi Antonelli said that the movie was long, he wasn’t lying.
As a self-proclaimed movie buff and a passionate devotee of Formula 1, I approached this movie, aware that it was always going to be a tightrope walk. On one hand, the cinematic experience of the movie was brilliant. On the other, the sacred realism of the sport was missing. As for my verdict? The film holds its own, but as an accurate portrayal of F1, it might just make a fan want to pull their hair out.
From a purely cinematic perspective, the movie delivers on thrills. It has action and difficult situations with the heart-racing thrill of the sport. It is undeniably a gripping watch, keeping you on the edge of your seat even when the outcome feels predetermined. The tension between the drivers and the plot is palpable.
The narrative, while taking some liberties, maintains a fairly compelling pace. What stands out the most in this movie is the visual execution of the races. The camera work is phenomenal as it captures the speed and intensity of racing with shots that feel incredibly authentic as the viewers get to enjoy a driver’s point of view.
The influence of Lewis Hamilton as a producer is subtly evident, with nuanced references to not just the reality of the sport but also reminiscent of his complex relationship with former teammate Nico Rosberg.
However, it is when the lens shifts to the complex world of F1 that the film veers off track. The relationship between a driver and a technical engineer felt both unprofessional and frankly, quite unnecessary. It did not contribute anything substantial to the main plot. Instead of genuine insight on perhaps what the job of a technical engineer would entail, the film opted for dramatisation over accuracy.
One of the most glaring realities of the sport that was omitted was the financial aspect of it. The movie focused on the high stakes of F1 with the relentless pursuit of victory, the critical importance of race wins and points and the risk of a team’s collapse due to lost sponsorships and poor performance. Yet, it ignores the financial implications of crashes.
For a driver like Sonny Hayes who's on-track incidents were particularly frequent, the cost of repairs and fines would have crippled any team, let alone one that is struggling. Additionally, the notion that an F1 seat can be offered to a driver without a significant financial backing or prior contractual obligations was glossed over, once again sacrificing realism for plot convenience.
Equally frustrating as a fan was the complete disregard for the sporting regulations, particularly the penalty points system. If a real F1 driver had done the same reckless antics as Sonny Hayes, he would have accumulated enough penalty points for a race ban well within the nine races depicted.
This not only undermines the integrity of the sport but also cheapens the drama. It gives the illusion that a driver can do just about anything on track and not get punished for it.
The movie also had a “white saviour” narrative. The trope felt jarring, especially when juxtaposed with the apparent lack of professional support for the protagonist. Modern F1 drivers are required to adhere to rigorous training and dietary regimes. To suggest that success in the pinnacle of motorsport hinges solely on innate driving skill and memories of the past feels like a disservice to athleticism and dedication demanded by the sport.
Furthermore, the film’s treatment of its female characters was questionable. These women were initially depicted as somewhat incompetent in their high-stakes roles as part of an F1 team but were granted a redemption arc of sorts primarily through Hayes’ influence whether it was standing up for them or advising them on how to do their jobs.
This made the arc feel less about the women’s own capabilities and more about how his presence “fixed” their professional standing and self-esteem.
Personally, Joshua was a triumph. His character arc throughout the movie was well-crafted and made him a truly likeable figure. He matured and he understood the importance of a team game in the sport. In contrast, Hayes’ character felt stagnant, with little discernible growth or evolution from his initial portrayal in the film.
As an F1 fan first, I found myself rooting for every driver except those from Apex GP. When a film expects me to believe that Hayes was able to overtake a talent like Pierre Gasly and Yuki Tsunoda consistently, it treads on sacred ground.
Ultimately, the film offers the thrill of a compelling drama with a generous sprinkle of racing. If you’re seeking an engaging, high-octane drama with a racing backdrop, then it is a must-watch movie. However, if you bleed F1 and crave an accurate, respectful portrayal of its nuances, there will be some minor frustrations. This film illustrates the challenge of appealing to two distinct audiences, often succeeding with one at the expense of the other.
Brad Pitt’s F1: The Movie delivers excitement — but leaves true fans wanting more - by Zoha Wyne: 7/10
It had the grid. It had the glamour. And yet, despite all the emotional horsepower, F1: The Movie felt like a thrilling demo lap—slick, loud, and fast, but ultimately hollow.
With Brad Pitt behind the wheel, Lewis Hamilton co-producing, and real Grand Prix circuits captured during live race weekends, the promise was enormous. Directed by Top Gun: Maverick’s Joseph Kosinski and produced by Pitt, Hamilton, and Jerry Bruckheimer, the film looked destined to deliver the motorsport epic we’ve been waiting for.
And visually, it’s glorious. The cinematography captures Formula One’s velocity and danger with visceral cockpit shots and on-track sequences filmed at Silverstone, Budapest, Las Vegas, and Abu Dhabi. Hans Zimmer’s score boosted by tracks from Ed Sheeran, Rosé, Tate McRae, and Doja Cat adds muscle, even if it occasionally veers into overkill.
But the emotional engine never quite roars to life.
Pitt plays Sonny Hayes, a retired driver lured back by his old teammate-turned-team principal Ramon Cervantes (Javier Bardem) to revive the struggling APXGP team. His role is two-fold: race competitively, and mentor hotheaded rookie Joshua Pearce (Damson Idris).
The story tracks their friction and eventual partnership, building to a dramatic Monaco Grand Prix where Pearce, ignoring team orders, spins in qualifying. By the final race in Abu Dhabi, the duo finally sync up, helping APXGP clinch an unlikely top-five Constructors’ finish.
It’s neat, tidy, and utterly predictable.
The movie offers a glossy take on the “veteran comeback” trope, playing it safe with emotional beats that rarely dig beneath the surface. The political and psychological warfare that defines real F1 is barely touched.
Sporting intricacies such as penalty points, the financial burden of crashes, driver contracts are mostly swept aside. Hayes barrels through the season with a recklessness that, in real life, would spark FIA investigations and endless penalties. Here, he gets a free pass. It’s this kind of narrative shortcut that keeps the film firmly in Hollywood fantasy territory.
And yet, some of the most emotionally resonant moments come not from the fictional plot, but from the real-world cameos baked into the background. Seeing Carlos Sainz Jr. still in Ferrari red, despite his 2025 move to Williams being public knowledge, hit unexpectedly hard. Likely a product of the 2023–24 filming schedule, it still served as a nostalgic reminder of how deeply fans invest in the real-life chessboard of F1.
The film’s final scenes in Abu Dhabi bring a few poignant notes. Charles Leclerc, fresh off losing the real 2024 World Constructors’ Championship by just 14 points, stands on the podium with that signature awkward smile that’s hauntingly real for fans who know how many times he’s been close, but not quite.
It’s a gut punch not just because of the result, but because it clearly mattered to him. With Carlos Sainz Jr.’s departure from Ferrari looming, the moment lands like a silent tribute. Brief, understated, and perhaps accidental but it felt like the film winking at die-hards who understand the weight of what goes unsaid in this sport.
But outside these flashes of authenticity, character development falters. Hayes is charismatic but stagnant. Pearce’s redemption arc is rushed, more checkbox than character journey.
And female representation, already scarce in the sport, fares no better here.
Kerry Condon’s Kate McKenna, F1’s first female technical director is sidelined into a soft-focus romantic subplot. Simone Ashley’s role was cut entirely. A major missed opportunity to break new ground where the sport itself still struggles.
Final Thoughts from the Grandstand F1: The Movie is a cinematic showstopper loud, fast, and built for IMAX. It nails the aesthetic but skims the substance. It’s worth a one-time watch for the thrill, but if you’re after the politics, pressure, and psychological warfare of real F1, it’s more exhibition lap than championship contender.
A dazzling spectacle with horsepower to spare, but stuck in second gear where it matters most.
F1: The Movie crosses the finish line, yet stalls in key areas - By Bailey Defoor: 4/10
F1: The Movie set out to bring the speed and spectacle of Formula 1 to the big screen, and on the surface, it does. The racing visuals are flashy, the sound is immersive, and there are moments where the tension of a Grand Prix weekend is captured effectively. From a purely entertainment standpoint, it’s not bad for fans and newcomers alike.
That being said, I found that the film struggled with focus and execution. At times, F1 itself felt like an afterthought. It’s used more as a glamorous backdrop than as a central thread to the story. The plot leans more into personal drama and predictable tropes, often sidelining the actual motorsport in favor of the overused underdog narrative.
I also felt that the female representation is particularly disappointing. Kate, the team’s technical director, feels like a character that may have originally been written as a man, later rewritten and merged with the love interest for convenience.
This leads to inconsistencies that are hard to overlook. Despite explicitly telling Sonny that she doesn’t get involved with drivers, that boundary is immediately abandoned, undermining her credibility and making her character arc feel forced and underdeveloped. In a sport where women are constantly fighting for equal footing, portrayals like this are especially damaging.
With an estimated 40 percent of F1’s fanbase identifying as female, as reported by Forbes in a March 2024 article, regressive depictions like this don’t just feel outdated; they feel irresponsible. They risk discouraging the very people the sport is slowly beginning to welcome and support, especially as F1 recently celebrated the appointment of its first female race engineer.
It’s especially disappointing given Lewis Hamilton’s role as a producer. As someone who has consistently championed inclusion, equality and change within the sport, his name attached to this project raised my expectations for a more progressive and authentic representation, especially for women in motorsport. Instead, the film falls into familiar tropes that undercut the credibility of its female characters.
The editing doesn’t help either. Choppy transitions and uneven pacing make it hard to stay engaged, and key emotional beats don’t land the way they should. For a film that should mirror the intensity and rhythm of real F1, it lacks the sharpness and clarity that the sport demands.
In the end, F1: The Movie offers a glimpse into the world of elite racing, but misses the mark in delivering a cohesive, authentic, and modern story. It entertains at times, but this spins out in too many corners.
All style, no grip. F1: The Movie skids off track with weak writing and tired tropes.
A technical masterpiece amidst the wave of sensationalism - Vyas Ponnuri: 8/10
If you're walking into the movie theatre expecting motor racing to take the spotlight in F1 - The Movie, then it's strongly advisable to keep your expectations in check. At the end of the day, it's a fictional film, not a documentary-style film like Drive to Survive or Senna, or even Rush.
On the contrary, would you get your money's worth for a two and a half hour film? Certainly so. Despite glaring inconsistencies and plot gaps, the film does superbly well to keep you engaged all the way.
The cinematography and screenplay certainly catches your attention, even on regular 2D screens. The sheer sense of speed captured in the film, coupled with the high quality of visuals deliver a rare feeling of surrealism for fans across the spectrum.
The editing work too stands out. Eagle-eyed and the regular F1 fans would spot the stunning black-and-gold Apex GP cars inserted into the real life race situations from the sport. The sheer technical aspects of the film leave you in awe, underpinning the success of the movie.
The movie's soundtrack only adds an extra layer of intensity to the moment, with the legendary Hans Zimmer's background scores, inspired by his best works, perfectly syncing to the respective scenes. The evergreen Ed Sheeran's 'Drive' serves the perfect climax to the film, while several songs from the movie have the potential to end up on people's playlists in the future.
Kosinski's role in laying down the broader narrative is another plus point in the movie appealling to those outside the wider ambit of the F1 fanbase. It's got the hallmarks of a typical Hollywood hit: The protagonist stepping in to save his close aide from doomsday; Conflict between the protagonists; racing action, a dose of romance in between, with everyone happy in the end.
The opening scenes from the 24 Hours of Daytona transitioning into the Apex GP car testing around Silverstone set the tone for the entire film, even though the rest of the plot does not match up to the lofty standards.
For regulars, racing action from the plot will certainly reveal inconsistencies. Sonny Hayes replicating Crash-gate thrice in a single race, or Joshua Pearce's physics-defying crash in Monza, or even Spa-Francorchamps appearing after Las Vegas in the movie, simply put, isn't the case in Formula One.
The sheer number of sensationalised crashes and incidents in the film simply do not paint the favourable image of a sport based off intense precision, wheel-to-wheel racing and split-second strategy calls.
The way females are represented in the film too catches you off-guard. For someone of her stature in the sport, technical director Kate McKenna's achievements are overshadowed by a one-night fling with Hayes, while the sole female tyre gun operator Jodie is portrayed as clumsy and irresponsible for the slow pit stops. Although her character evolution saves face, it still leaves a deep scar on the outlook of the movie.
Brad Pitt and Sonny Hayes fit well into their roles, and Javier Bardem's role as Ruben Cervantes, the team principal of Apex GP, smashes it out of the park, their back stories certainly come into question as the film goes on.
All in all, this film can be enjoyed by fans of all ages and across the spectrum, be it the casuals, on-the-fencers, or regulars, albeit with several disclaimers of glossing over some inconsistencies, and enjoying the technical aspects and the soundtrack the film has to give. It does enough to become a box office hit, though, impressing fans across the board despite its inconsistencies and gaps.
