Cert - 12

Run-time - 2 hours 36 minutes

Director - Joseph Kosinski

To prevent being ousted from his Formula One team, owner Ruben (Javier Bardem) recruits former teammate and thrill-seeking driver Sonny (Brad Pitt) to help put some points on the board.

My engagement with motor racing doesn't stretch far beyond characters dressed as plumbers shouting 'wahoo!' as they throw a red shell at the driver in front of them. Yet, taking the cameras off the planes of 2022's smash-hit Top Gun: Maverick, Joseph Kosinski now straps them to Formula One cars to place you both in and on the high-speed vehicles. All without feeling gimmicky.

Far from 2-and-a-half hours of watching cars going round in circles, there's a thrill to the way in which the races and action are captured, especially once their style has been established and the few plot elements are in place. I may not understand the technical aspects such as different kinds of tyres, but as long as the basics are in place there's enough to go by in the more narrative-led moments to move things along between races.

Kosinski and co-writer Ehren Kruger appear to acknowledge this by making an exceptionally conventional narrative that leads the focus to be put onto the race sequences, where much of the focus and run-time is spent. The point that both sides lean into is the fact that this is a movie star vehicle that makes the most of the star power and attitude of its lead actor; in this case Brad Pitt.

Pitt's slight swagger infuses thrill-seeking driver Sonny Hayes, travelling in his van across America from race to race he's approached by former teammate Ruben (Javier Bardem) to join the struggling Formula One team he's recently bought, and is at risk of being ousted by the directors from. However, Sonny's viewpoint and way of driving clashes with fellow APX GP driver Joshua (Damson Idris) - trying not to fall just as he's starting to run in the sport - and technical director Kate (Kerry Condon) - you can fill in the rest of the plot from there.

While their interactions help to bring more to the F1 action they largely act as build-up to these sequences, almost being so conventional as to not distract from them. And there's no denying the rush that can be found in the battles for points and top ten placements on the championship board. Stakes are seen and felt adding tension to the speeds being traveled at by car, driver, camera and, in turn, viewer. All done at a speech which matches the cars on-screen and means the run-time certainly isn't felt.

Kosinski, Pitt and co appear to know that these sequences are the main selling point and focus of the film, putting the most push and effort into these extended moments. Bringing about a cinematic spectacle that demands to be seen on the big screen and makes the film, mostly undistracted by its very familiar surroundings, worthwhile.

Three stars