There is a certain type of summer films that have been revived and ready to go, so they were injected with fuel with Flash and Talent and Star Power, not to mention an irresistible topic, before the movie is barely, you can feel excited to enthusiasm. “F1” is one of those films. It is a professional professional self -drama that looks like a Fastery Fast, a future touch in its artificial design, leaving all second ideas in dust. Go to “F1”, you want to feel excited, energy, and indirect impulsivity, and at this result there is no denial of the movie.
The opening sequence is a killer. While the majestic bomb of “Lotta Love” in the soundtrack, Sony Hayes (Brad Pitt), who was once a rising star in Formula One, is now a wrong independent (but he still has the right things), raises himself through the 24 -year -old to the match he wins through a few steps of the heat. The sweat, which already reveals under the sky of the stars.
While he was connecting himself in the cockpit, which is very small, it seems as if it was just another component in the advanced car system, it mainly takes over the night seizure. Being Sony Sony, his job is to lead his team from a bleak place in the back of the package to first place. He does that, pressure and weaving, and the triggers of the car like a rocket ship to hell. (After taking the team to first place, he says to another member, “Hey, lost the race, I will kill you.”
The language of the cinematography of the existential car race, of course, is firm. It was launched half a century ago in the movie “Grand Prix” (1966), which included exciting races in the formula through the European countryside, and a camera wrestling forward in View’s-Eye View, all surrounded by an enlarged piece of dogmat in the late studio. This visual technology was strengthened in the movie “Le Mans” (1971), and in the greatest film for cars for all of them, although it was not officially a “MAD Max” movie.
Joseph Kusinski, director of “F1”, is the nostalgia for the high technology that made “Top Gun: MAVERICK, and he knows how to take that aesthetic aesthetic saturated with exodus that is committed to speed and its decline to the maximum amount Hans Zimmer (which is an old hand in this, after she got the “Days of Thunder” pump in 1990), works on the audience the way TRENT Reznor and ATTICUS Ross Edm Throb Score “. We go to “F1” enthusiastic about being excited, and the film achieves it. Nothing if not high adrenaline.
However, it is high that may make you feel a little empty after that. The title of the movie – the idea of naming it “F1” instead of “Formula One” – may be at a level, but it seems that it is an attempt to viewers viewers by convincing them that it is “fast and angry.” it’s not. After “F1” He is Formula One movie depends on the very familiar formulas of his story. Produced by Jerry Brookheimer, with a software for Irene Krogger, whose brand reops is the old Trops (in addition to being one of the three authors of the scenario “Top Gun: Maverick”, he has credits that include some of Redux products such as “Dumbo”, “Ghost in the Shell”, and three “transformers”) Simpson/ Bruckheimer/ Tony Scott Reebl-With-A-GIVAL-AD-LOVE-EREST MYTHOLOTY.
Sonny’s Pitt was shooting to be the Formula One hero until he stopped his career due to a terrible collision. (Rather, a shock, the film uses documentary footage of the effects of Martin Donelli’s crash in 1990 during the Spanish Grand Prix to stand in the Sony accident. Sonny is still a Bedouin with three failed marriages and a reputation like a gambling addict, still rents himself for races, most of them for fun.
Early, he was tracked to Mexico by his old teammate in the Robin Servanz (Javier Bardem), who is now the owner of the APXGP Formula One team, who is doing a very bad job in the hole; He wants to bring Sony. The independent Sonny is an allergy to being a member of the firm team, but this is his shot, after 30 years, to demonstrate that it is still the best. Therefore, he agrees to come on board and show the APXGP people how it is done.
Among them is Josh Pearce (Damson Idris), the British rookie in the team. Ho and Sony, of course, will compete for death, inside and outside the path, in an attempt to overcome each other until they learn to work together, with the competing flavor, in this case, by that Sony is a “old man”, who was placed in his ways. However, what the audience sees is that it is a special blend of Sonny of reckless and discipline that wins races.
While Josh, Damson Idris calls Carisma Brash in an easy and somewhat written role, while Kerry Condon, from “The Banshees of Iniserin”, has a volatile attract Something more than the compulsory love interest, but it is cursed if it does not play like this. There is the drama of companies hovering in the background (Will APXGP be sold from under Robin?), Which appears to be another case backup.
There was a very good drama, such as “Ford V Ferrari”, centered on the plots of traditional authoritarian competition. “F1” with clichés is not necessarily a problem; Just look at how a house is a time with a character we have seen before and draw it with a new layer of rusty magic. But what a movie like this needs is to play the drama in the same races. This is what happened in “Ford V Ferrari”, and in the air battles of “Top Gun” and “Top Gun: Marterick” (which was filmed and edited with faded accuracy), and in the car racing movie that raised this kind of things to the art level-The Staggered Underrated “Ferrari”. But with the extension of the “F1” through the Formula One World championship, moving in the last nine Grand Prix competitions for this season, the races are generated by a superficial fuss, but the stories they tell less than shaving meat.
The film works hard to be “overwhelming” to the point that instead of explaining the privacy and generality of the race to us (how long the pits stop, and how the season works), it is simply assumed that we know the beautiful points. Kusinski, who photographed the actual F1 competitions, scores in the air, but matches races in a fee and sometimes confusing, without giving us a clear picture enough about how each maneuver driver tries. Commentators of loudspeakers who tell races must do a lot of work for us. By the time when the film begins to bring the “soft tires” factor (which is more effective but wearing immediately), and who got more scale on their wheels, we have to take everything on faith, because the film tells us instead of showing us.
With the procedure that is limited to the stadium race track, you wonder why Kosinski did not give the audience a more stable overview of the eagle; It would help. But perhaps he just relied on raising speed and the specter of death, to be the movie engine. Is there a catastrophic crash in your branch? Of course there, but we are invited to exhale from its consequences very easily. In “Grand Prix”, someone asks why the race drivers do what they are doing, and the friend of the contestant responded, “It is so amazing To go very quickly. “Yes, but this in itself is not enough to make a wonderful movie.