Why ‘F1: The Movie’ Appeals to Fans Who Love Corporate Sponsorship More Than Racing Action | Defector

F1: The Movie feels less like a genuine sports film and more like a colorful superhero story dressed up as racing. It’s aimed at hard-core fans, showering them with familiar faces and sharp references. For instance, it features iconic voices like David Croft and Martin Brundle and even gives a nod to Max Verstappen and Lewis Hamilton’s beloved bulldog, Roscoe.

Visually, the film does a great job mimicking an actual F1 broadcast. Race introductions sport the recognizable fonts and circuit diagrams we see on TV. Much of the footage comes from the 2023 and 2024 seasons, creating a sense of nostalgia for die-hard supporters.

The plot centers around Sonny Hayes, played by Brad Pitt, who embodies the underdog spirit. After a serious crash ended his promising career, he finds himself back in F1, trying to save a struggling team called APXGP. They haven’t scored a point all season, and if they don’t win, they risk being shut down.

In a true sports film, Hayes would grapple with the harsh realities of F1. The competition is fierce and the technology disparity means underdogs often face monumental challenges. Yet, as a superhero, Hayes defies these odds instantly. He comes up with game-changing ideas and battles through the ranks as if the rules don’t apply to him. His antics—including perhaps bending or breaking rules to generate safety cars—make winning seem almost too easy.

This twist makes the stakes feel lower for viewers. When Hayes crashes into other drivers, it removes the adrenaline typically found in racing. Instead of feeling nervous for the characters, it becomes predictable, especially when the film hints at danger but doesn’t genuinely deliver it.

Modern F1 is often criticized for being a tad dull, with a focus on strategy that might alienate casual fans. F1: The Movie avoids diving into the complexities of races like “sprint races” or “undercuts,” choosing instead to keep the pacing quick and entertaining.

There are moments of modern progressiveness in the cast, with a Black rookie driver and the first female technical director, portrayed by Kerry Condon. However, the film fails to dive deeply into the complexities of these representations, glossing over significant issues of race and gender in the sport.

Viewing parties have already seen real F1 drivers attending screenings, creating a buzz about the film within the F1 community, yet it seems more focused on glamor than grit. Product placements are everywhere—it’s hard to ignore that this is as much Licensing: The Movie as it is about racing.

As the film closes on the Abu Dhabi Grand Prix, it encapsulates what modern F1 has become: a spectacular event wrapped in commercialism. While it’s beautifully shot, it doesn’t quite reflect the raw intensity of racing or provide insightful commentary on the sport.

At the heart of it, F1: The Movie is larger than life but lacks the depth that could make it truly memorable. Instead of engaging with the sport’s complicated dynamics, it opts for easy drama and flash. It’s all about thrills—but in the end, it might leave fans wanting more substance.

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