The first thing in F1 the Movie, before a single word of dialog is uttered, is a pair of AirPods Max. They’re so comfortable, Brad Pitt’s lovable loser protagonist Sonny Hayes is able to sleep with them all night, then hop up and begin his day of driving fancy race cars. If you paid $550 for the AirPods Max, you too could be like Brad Pitt!
It’s hard to ignore the blatant commercialism of F1 the Movie, you might as well call it a $300 million ad for Formula One everything Apple. The film is produced by Pitt and F1 darling Lewis Hamilton, and it’s Apple’s first stab at producing a big budget summer blockbuster for theaters. In the hands of Joseph Kosinski, the director behind the thematically similar Top Gun: Maverick, F1 the Movie is undoubtedly thrilling, delivering an unparalleled sense of speed that more than rises to the occasion of “big, dumb, fun summer flick.” As a connoisseur of action films and just about anything that features wildly fast cars, I’d go as far to say that F1 is one of the best racing films ever made.
Sure, you’ve seen this movie before — one where absurdly beautiful people devote their lives to their sport, all for the love of the game. In many ways, Kosinski and writer Ehren Kreuger are just repeating what they did for the Top Gun sequel. F1 the Movie swaps Tom Cruise with Brad Pitt as a talented-but-washed up lead (who is always right about everything, of course), and replaces fighter jets with Formula One racers. Kosinski even replicates part of the magic of that previous film by placing cameras within the cars (powered by iPhone sensors and Apple’s A-series chips, , as well as unreleased Sony 6K cameras) to accurately capture the experience of driving at speeds of 200 miles per hour.
If you can get past the generic characters and formulaic nature of the film — Pitt’s Sonny Hayes is a fallen racing star recruited by an old friend (Javier Bardem) to save his struggling F1 team, all the while butting heads with a young publicity-obsessed teammate (Damson Idris) — F1 the Movie‘s sheer technical prowess makes it a must-watch Summer blockbuster on the biggest screen you can find. On , it’ll be presented in that format’s extra-tall 1.90:1 aspect ratio for its entire duration, instead of switching between aspect ratios like other IMAX films. (I saw it on a local theater chain’s premium screen and it looked great, but I also plan to get a full IMAX viewing soon.)
While Apple would probably want us to focus on the novelty of using iPhone cameras in Formula One cars, it’s the Sony cameras that truly make F1 more than your typical racing film. As you can see in , those cameras can rotate quickly in the middle of the race. That helps Kosinski capture the hectic nature of driving at incredibly fast speeds — we instantly go from seeing the point of view of the road to the driver’s struggle to keep pace with the action. They’re reacting to extreme G-force and struggling to hold onto the wheel,and we’re right there with them.
F1 is one of those films where you might find yourself unconsciously holding your breath during its most extreme set pieces. But it’s also one of those movies where you’ll probably have to turn off your brain a bit to truly enjoy it. Ignore the uncritical adoration for Formula One racing, the fact that Pitt’s character is almost a total cipher or the stereotypical romance.
The riskiest thing F1 does is place Sonny Hayes’ AirPods Max – which aren’t waterproof or water resistant in any way – perilously close to his ice bath after a brutal race. (I could easily see Apple executives giving Kosinski a note to make sure the AirPods Max never touches water. We wouldn’t want to have unrealistic expectations for Apple products, after all.)
Some sports films are transcendent explorations of the nature of human endurance (Chariots of Fire), or character dramas where winning isn’t really the point at all (Rocky.) And sometimes car go fast. That’s still perfectly enjoyable.
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This story originally appeared on Engadget
