
F1 review: A predictable but thrilling sports drama
F1: A predictable but thrilling sports drama
Score Details 'F1 races to the finish line in a blaze of glory, but it takes a road that's all too familiar.'
Pros Terrific performances
Thrilling action
Stunning cinematography
Great score and soundtrack
Cons Formulaic story
Flat characters
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Actor Brad Pitt has raced back into cinemas with his latest film, F1. Directed by Joseph Kosinski, who previously helmed Top Gun: Maverick, this sports drama follows veteran racer Sonny Hayes (Pitt) when he is called upon by his old rival (Javier Bardem) to return to Formula One racing to partner up with a young rookie, Joshua Pearce (Damson Idris), in the last few races of the season.
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After taking on the world of aerial combat, Kosinski brings his distinctive brand of cinematic flair to this depiction of competitive racing. Naturally, this makes for another captivating, blood-pumping blockbuster achievement. Though it seems to have left a better story in the rearview mirror, F1 makes up for it with a bevy of charismatic performances, engrossing visuals, and stirring moments.
The story runs a familiar track with mixed results
F1's opening scene hooks its viewer with its introduction of the laid-back Sonny and his dazzling first race. This presents enough thrills and mystery to leave audiences wanting to see more of his character and learn more about him in the coming attractions. But beyond that, F1 presents a predictable story of an aged athlete, described in the film as 'the greatest who never was,' as he tries to educate a younger protégé and regain his former glory. It's essentially Top Gun: Maverick with race cars, but that's not necessarily a bad thing.
Though the story of F1 is familiar, it still presents the right amount of severe character drama and lighthearted quips between Sonny, Joshua, and their teammates to make this an enjoyable summer blockbuster. Nevertheless, the script could ease up on the amount of expositional, on-the-nose dialogue, as journalists and news personalities fill the audience in on the story with heavy-handed commentary with very little subtlety.
Also, F1's story seems to brush past the challenges that the characters face, such as forged legal documents, Sonny's vision problems, and his post-traumatic stress, without much difficulty or consequence. Despite its potholes, F1 features plenty of emotional and even inspiring moments that fit well in the sports film genre, particularly that fiery crash scene and Sonny's climactic 'flight' to the finish line. Overall, F1 presents a fun story with a decent amount of tension. However, the film struggles to ground itself in reality.
Traditional characters with compelling actors
In F1, Sonny Hayes is a cocky, loose-cannon racing veteran who doesn't play by the rules, similar to Tom Cruise in Top Gun: Maverick. Meanwhile, Joshua Pearce is Sonny's younger, equally arrogant partner, who's desperate to prove himself and reach the top, which naturally leads to friction between the two. While this is the kind of dynamic seen between Maverick and Rooster in Top Gun: Maverick, Sonny and Joshua lack any prior history together to make their conflict more engaging.
Instead, their relationship is more of a clash of like-minded egos, and the film doesn't spend enough time dissecting them and their backstories to make their characters feel true and unique. Likewise, Sonny and Joshua's development feels rushed at times. Though the latter experiences the most growth in the film and follows Sonny's example, his character presents so much more dramatic potential. Joshua talks about having to climb out from nothing to become the famed racer he is today, which could say a lot about the state of modern athletes. Instead, the film fails to expand upon his character to make him seem especially distinctive or relevant.
Likewise, Sonny is presented as a divorced husband and father coping with a gambling addiction and a traumatic racing accident, and there are some nuances to his character aching to be unlocked. However, F1 seems to speed past all that without adding anything fresh and captivating to his character. Pitt at least touts his trademark charisma in the role of Sonny, making his jerk of a character a lovable, entertaining presence in the film.
At the same time, many members of the film's supporting cast shine just as brightly as Pitt. Idris brings the right balance of solemn intensity and cocky swagger as Joshua. Javier Bardem brings plenty of drama and humor as Sonny's friend and struggling new boss, Ruben Cervantes. Kerry Condon, in particular, wins with her performance as Sonny's tech director/love interest, Kate McKenna, sharing palpable chemistry with Pitt. Her character also stands out for the way she keeps her team together, arguably making her the movie's secret weapon.
Stunning action and visuals
Like with the pilots in Top Gun: Maverick, Kosinski places viewers right in the driver's seat with the drivers as they battle each other with their cars like the chariot riders in Ben-Hur. This film immerses its audience thanks to the thrilling, up-close camerawork of the racers and their vehicles by Oscar-winning cinematographer Claudio Miranda (who also worked on Top Gun: Maverick). The panning shots filmed atop the moving cars are among the film's most distinctive visual achievements, giving viewers a heart-pounding view of all the excitement.
F1 keeps up the intensity with super-swift editing courtesy of Stephen Mirrione, jumping from one character to another, from inside the cars to outside on the sidelines. The movie hardly gives its audience the time to breathe with its breakneck depiction of Formula One racing, making it all the more gripping. The thrills and emotion are also elevated by an excellent soundtrack and original musical score from the ever-reliable Hans Zimmer.
Is F1 worth a watch?
For those looking for an eye-catching, heart-pounding underdog story to enjoy in theaters this summer, F1 is the right choice. Kosinski's movie doesn't add that much depth or innovation in terms of storytelling, but it is still a sight to behold. F1 is a cinematic roller coaster from start to finish, with the film making up for its shortcomings with compelling performances from the cast and immersive action.
F1 is now in theaters.
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Hargitay also met her half-siblings Giovanna and Pietra Sardelli, who kept the secret as well. Giovanna said she once confronted her father as a child after finding a secret letter he'd kept written from Mansfield's mother, telling him he had an "amazing child that's yours," but he told Giovanna that Hargitay is a "little girl, has a father who loves her like I love you. This little girl is safe." Pietra interjected, "'And if she is OK, she just lost her mother. You cannot take the only family she knows,' and that was their decision and that's why they stayed quiet." MARISKA HARGITAY OPENS UP ABOUT LOSING HER MOM JAYNE MANSFIELD AS A CHILD: 'THERE'S NO GUARANTEES' "And that made sense to me and I tucked that away." Giovanna said, adding that she remembered coming years later to Mariska's birthday party and telling Katie Couric when the journalist asked, that they weren't related, they were just family friends. "My need to honor Mickey was so huge, but the fact is I was wrong, because you guys had to live all these years with the secret, and you were so generous, so generous to me," Hargitay told her sisters. Hargitay was left behind after deadly crash While the documentary doesn't go into a lot of detail about the Mississippi crash that killed Mansfield and two others, Hargitay's brother Zolton Hargitay, who was 6 at the time, said he remembered his mother had been sitting in the back seat with the children before moving into the front seat. He said she had been arguing with her boyfriend, then she got out of the car and called their father before she moved into the front seat. Zoltan remembered her comforting him before the crash, "telling me I was going to be fine, 20 minutes later, half an hour, whatever, I heard her scream so loud, and that was it – just silence." The car had crashed into a tractor trailer that had slowed down around 2 in the morning on June 29, 1967, killing Mansfield, her boyfriend and the driver of the car. Mariska, Zoltan and Mickey Hargitay, Jr. were in the back seat at the time and survived. "I often think about why she didn't just stay in the back seat with us," Zolton said through tears. Zoltan said he remembered being in a car on the way to the hospital and looking around before saying, "Where's Maria?" referring to Mariska. "And they said 'Who's Maria,' so then we doubled back." Ellen Hargitay, Mariska's stepmom, said when they went back, she was found "lodged underneath the passenger seat with a head injury and – thank God, thank God Zolie woke up." Mansfield had no will when she died at 34 Mansfield didn't have a will at the time of her death at 34 years old in 1967, "So the state sold off her belongings to pay her debts and there were just a handful of items that my siblings and I were able to keep," Hargitay explained in the doc. She added, "For me, a lot of this is about reclaiming what was lost. Even physical things." Hargitay finally went through the family storage unit, which she said hadn't been opened since 1969, two years after her mother's death. CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTER A poignant moment near the end of the film showed Hargitay's husband, Peter Hermann, surprising her with Mansfield's piano. The actress was both a pianist and violinist. Mickey wasn't over Mansfield when he married Hargitay's stepmom Hargitay's stepmom, Ellen Hargitay, said she's sure Mansfield's widower was "not over her" when they met and started dating. "Because she passed away June 29, 1967, and Mickey and I got married in April of 1968. But you always have them with you," she said. "There's no way when you love somebody that they ever leave your heart. I don't care who, I don't care how angry you are, I don't care anything. If you really love somebody they remain in there." Mansfield's oldest child, Jayne Marie Mansfield, said: "It was love at first sight with Mickey [Hargitay]. It really was, and he was just such a nice man, you could just see that she was so happy." Hargitay and Mansfield divorced in 1963, four years before her death. Her daughter Jayne said she believes her mom became depressed shortly before her divorce from Hargitay. "Her career wasn't going well, so she went back to these parts for dumb blondes," Mansfield explained. "I don't think it was easy for her. But I don't think it was easy for Mickey either. She was completely absorbed in negativity because she wasn't doing the kind of work she dreamed of doing, and I believe she became a victim of depression. You know you're never yourself when you're depressed." LIKE WHAT YOU'RE READING? CLICK HERE FOR MORE ENTERTAINMENT NEWS Ellen said Mansfield started meeting other men and "the marriage fell apart. I think Mickey was hurt deeply by Jayne. I think she blew it when she divorced Mickey." "Mickey was the most positive influence in her life and even though he might have felt a lot of pain, he loved her. He always loved her even after they were divorced," she added. Mansfield came back to him many times after their divorce, and they were together again for a few months around the time she was pregnant with Mariska, Jayne said. Mansfield personified a 'dumb blonde' character Hargitay said her mother's baby whisper voice used to annoy her, and she would try not to listen to it when she heard her. "She didn't always talk like that," Hargitay said, adding that her mother had copied Marilyn Monroe in that way. Her former publicist Rusty Strait said she personified that character because it was what the studio wanted at the time. But at home, her daughter Jayne said she "didn't put on any of those airs," and wore her hair in a scarf and no makeup. CLICK HERE TO GET THE FOX NEWS APP "But she was also very eloquent. She spoke French, Italian, Spanish, Hungarian, and she wanted us to be exposed to more [in life]," she added. Her son, Zoltan, said he "kind of looked the other way" when his mom did her "public voice. Because I knew she was really, really smart." Jayne said her mother told her she wanted to be a serious actress but "the parts didn't come in so she did what she had to do." She said Mansfield had "great admiration" for Marilyn Monroe, but eventually realized "that blonde persona is a box," adding that her mom told her around the time of Monroe's death in 1962 that "she wanted to reverse that image." "My Mom Jayne" premiered on HBO on Friday and is streaming on Max. Print Close URL