The F-word is spoken once. That’s right — 1F.
This isn’t ironic title play, though it’s as happy an accident as they come. The single F-bomb is more a function of the film’s intended structure, staying just within PG-13 constraints. Utter it once and you’re PG-13. Cluck twice and you earn an R.

Speaking of words, I say “movie” less these days. I was ridiculed for this recently, but it’s not pretension — it’s accuracy. A film is a crafted piece with precise direction. Movies are built for the public at large: heartwarming, Hollywoodized, loaded with stars and budget. F1 feels more like a “movie.”

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A Thrilling First Half

The story is surface-level; the beats are basic and occasionally melodramatic. Characters keep critiquing Sonny Hayes’ age, but these jibes don’t land on the glorious Brad Pitt. Predictability sets in early and only worsens — the pacing slows considerably in the second half until events unfold in a 100% telegraphed manner.

At 155 minutes, it’s far too long. The later half is almost devoid of the small, unconventional turns that keep viewers engaged. Some moments break from formula in the first half, but they’re rare after that.

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Adequate Production

Big budget and bloated with technical work, F1 showcases a vast range of camera angles and multilayered sound design. The play-by-play announcers narrate throughout, explaining each race as if viewers can’t follow on their own. An audience sees something happen and then immediately hears it described — too polished, distractingly so.

To the film’s credit, the announcers are eventually shown on screen toward the end, putting faces to the voices. It’s a smart touch, but it arrives during the section of the film where pacing is already sagging.

I made the mistake of skipping IMAX, despite friends insisting it was the way to see it. Turns out they were right — this is a movie that dulls exponentially as the screen size shrinks.

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Topsy-Turvy Acting

Only a handful of performances work. Brad Pitt, Javier Bardem, Kerry Condon, and Joseph Balderama deliver. The rest feel amateurish or fractured.

Tobias Menzies is a glaring problem — his “evil money man” role is so flat and obvious that his every scene distracts from the main narrative. From the moment he tempts Hayes to “join the dark side,” you can see every beat coming. His arc is so painfully telegraphed it drags the movie down from potentially great to merely decent.

JP’s mom is similarly unnecessary. Most of her scenes could be cut, particularly a hospital moment where she chews out Hayes over a misunderstanding the audience already sees through. It’s not strong writing — just a device to justify her presence. The racial casting here feels blatant, and I wonder when audiences will tire of this trend.

On the positive side, Javier Bardem is as good as ever — likable, engaging, and central to the emotional pull. He doesn’t want his friend to die, and we’re right there with him. Pitt remains magnetic, always a delight to watch. Kerry Condon is terrific too, delivering a seamless performance even when saddled with difficult material (see: the porch scene).

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Existentially Unchallenging

F1 isn’t a bad film — it’s a decent movie. Learning about the sport is fun enough to merit a casual watch, but the story’s predictability, bloated runtime and uneven cast keep it from greatness. If you’re going to see it, see it in IMAX. Otherwise, your life won’t change.

★★★ ★★★

Briefer thoughts at IMDb & Letterboxd.

Check out The Fantastic Four: First Steps for a more engaging blockbuster.