You can’t fault the logic behind F1 (or, to be precise, F1® the Movie, for marketing and algorithmic purposes). If strapping an A-lister into a fighter jet worked like a dream for 2022’s Top Gun: Maverick, then surely strapping an A-lister into a Formula One racer would produce similar, if not identical, results.
Yet while director Joseph Kosinski and cinematographer Claudio Miranda can certainly shoot cars as well as they can planes – it’s all plumes of smoke from the tyres and the bone-rattling rumble of starting engines – F1 represents the spiritually bone-dry, abrasive inverse to all of Maverick’s giddy pleasures.
