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F1 THE MOVIE Review

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F1 THE MOVIE Review
(CC, BB, Pa, CapCapCap, PP, Fe, FR, LLL, VV, S, N, A, D, MM):

Dominant Worldview and Other Worldview Content/Elements:

Strong but not fully developed Christian, moral worldview where the main race car driving hero kneels to pray silently before races, there are references to a racing “miracle” during the big race and references to pulling a “Hail Mary,” and movie promotes friendship, teamwork, a strong mother-son relationship, the importance of fathers (both the veteran hero and his rival teammate learn both their fathers died when they were young and the veteran still has a photo of him with his father as a young boy), doing the right thing is extolled at least twice, sacrifice wins the day and solves the major plot problem, and veteran racing hero pursues the feeling of ecstasy and peace that sometimes comes when driving a race car (the movie depicts it almost in a spiritual sense as if it brings the character closer to God, though, of course, the hero’s pursuit would be better if it were focused on Jesus), but there are some pagan, hedonistic and selfish motivations in the characters, though the movie has a very strong pro-capitalist or pro-business viewpoint (the veteran hero is trying to help his friend save his Formula 1 racing company, and teamwork and hard work are mentioned and depicted as very important to accomplishing that goal, such values are, of course, American values that also have a biblical tradition), plus two major female characters in the race car company have a feminist goal of being just as respected as the men in that male-dominated field, and there’s an apparent image of a Muslim mosque when the movie shifts to the final Formula 1 race of the annual season, which occurs in Abu Dhabi;

Foul Language:

About 43 obscenities (including one “f” word), one strong profanity (which perhaps can be considered somewhat borderline), where someone exclaims “Sweet Baby Jesus,” three GD profanities, four light profanities, and one of a racing team’s advisor/coach jokingly uses an obscene gesture against another team’s advisor/coach later in a race after the second guy had mouthed an “f” word at him earlier;

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Violence:

Violence includes a few intense car crashes, including one where a car bursts into flames, and another driver pulls the driver out of his fiery car (the injured driver just burned his right hand, so he must sit out of the F1 racing circuit for three races to recover), past footage of a Formula 1 race shows a driver lying unconscious in the road, ,any intense car racing scenes, some lesser examples of crashes and spinouts and tires hitting tires during races, and team rivals have shoving match in one scene;

Sex:

No depicted lewd sex, but fornication is implied when an unmarried couple kisses passionately and then wake up in bed next to one another (the man has a nightmare about a major racing crash and sits up and gets out of bed while the woman is still sleeping in the bed), and race car driver’s manager wants them to find a girl when they visit a disco bar;

Nudity:

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Upper male nudity as driver work out or walk around in a two or three scenes, and young driver goes to a disco with his manager and there are girls in some slightly skimpy clothes or dresses;

Alcohol Use:

Some brief alcohol use, especially in a disco scene;

Smoking and/or Drug Use and Abuse:

Someone smokes a cigarette but no illicit drugs; and,

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Miscellaneous Immorality:

Strong miscellaneous immorality overall such as corrupt businessman forges some papers against the racing car company in the movie so he can buy the company at a lower price after the big race, but his plans are foiled, and the hero is a nomad who’s had one marriage annulled and two divorces over period of 30 years (the story is that the crash that ended his Formula 1 racing career left him adrift and brought out his worst qualities until he found some peace as a nomad going from race to race while living in a van), it’s said that the hero once had a gambling problem, and he still likes to place an occasional informal bet, and when the hero’s friend gives him a chance to race the second half of the Formula 1 circuit again the hero is not above breaking the rules occasionally (though he at first does it on the racetrack to make the other drivers respect him and his teammate).

F1 THE MOVIE stars Brad Pitt as a veteran race car driver who clashes with a young racing phenom when an old friend of Pitt’s character, played by Javier Badem, asks his friend to help train the younger man in Formula 1 racing, 30 years after the veteran driver had a huge wreck that ended his own promising career in that pinnacle of international racing. F1 THE MOVIE has some of the best, most exciting racing scenes ever filmed, tells a compelling redemptive story with engaging characters where teamwork and sacrifice win the day, and includes some positive Christian references, but it has lots of light to medium foul language, plus five strong obscenities and profanities, an implied bedroom scene and some other, more concerns.

The movie begins with veteran race car driver, Sonny Hayes, meeting his old friend, Ruben Cervantes, who now owns a Formula 1 racing team. Thirty years ago, Sonny was a Formula 1 rookie phenom. However, he was a little reckless and suffered a major crash that wrecked his career. So, now Sonny is a racing nomad who lives in a van and goes from race to race.

Ruben offers Sonny $5,000 to be the second driver on Ruben’s Formula 1 team. Ruben also wants Sonny to help train the main driver, a young black racing phenom named Joshua Pearce, who’s still a little green or inexperienced. Riben also gives Sonny a first class plane ticket to the next grand prix race near the village of Silverstone in England. Ruben’s Apex Grand Prix team hasn’t won a race all season, and the board of directors is about to sell the company if the team can’t turn things around. Sonny seems reluctant, however, to take Ruben up on his offer.

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The time for the preliminaries at Silverstone is about to start. Ruben thinks Sonny has decided not to come. However, a big smile appears on his face when Sonny suddenly arrives, grinning sheepishly, and informs Ruben he went to the wrong entrance.

Things don’t go well at first, though. Joshua rubs Sonny the wrong way when Joshua gets angry at a female on the pit crew who makes a mistake. Also, during the Silverstone race, Sonny won’t let Joshua pass him when Sonny manages to running ahead of Joshua. Sonny thinks Joshua is being a bit rude and acting entitled to passing Sonny. It also irks Joshua when Sonny ruins the race for them by deliberately bumping tires with the other drivers, and both his and Sonny’s car spin out of the race. The rest of the team isn’t too happy about it either. However, Sonny informs them that one of the reasons they’re not doing so well so far is because the other drivers don’t respect them. Thus, there’s a reason for Sonny’s apparently reckless behavior.

Things get even worse when Sonny advises the team to let Joshua keep waiting to change tires toward the end of another race so that, when he does change tires, Joshua will have fresher tires than the other drivers. At that point in the race, it’s started to rain. Using the team’s com system, Sonny advises Joshua to run fast on a straightaway but slow down on an upcoming curve. Joshua doesn’t listen and doesn’t slow down, and crashes. His car catches fire, and Sonny has to get out and run to Joshua’s car to pull him out of the burning car.

Happily, Joshua only burns his right hand slightly, but it means he’ll have to sit out the next three races on the circuit. However, Joshua’s loving mother, who travels with Joshua wherever he goes, isn’t happy. Joshua didn’t tell her that he ignored Sonny’s warnings about the curve. So, she’s extremely upset and reads Sonny the riot act. Sonny doesn’t tell her what really happened, though.

Naturally, without the fireworks between Sonny and Joshua, the team starts to do better when it gets a temporary replacement. So, when Joshua finally returns to the team, the question becomes, Can Sonny and Joshua bury the hatchet and finally become a team that can win?

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Other twists occur, of course, to add more jeopardy to the story and its conflicts. Also, the movie finally reveals why Sonny never tried to return to the Formula 1 circuit and why he can’t quit racing.

F1 THE MOVIE has some of the most riveting racing scenes ever made. It tells a compelling redemptive story with engaging characters where teamwork and sacrifice win the day. The movie also promotes friendship, a strong mother-son relationship and the importance of fathers. It also has positive Christian references. For example, Bard Pitt’s racing hero, Sonny, prays silently before each race. The movie also has references to a “miracle” happening during one race and references to throwing a Hail Mary pass in football, an idiom that the racing team uses during one of its strategy sessions. In addition, the movie reveals that Brad Pitt’s character keeps racing, despite his age, because he’s pursuing the moment of ecstasy and peace that sometimes comes when a racing driver has become one with his machine on the track during a race. The movie depicts that moment in a spiritual sense, as if the driver is becoming closer to God. Of course, in reality, the hero’s pursuit would be better if it were focused overtly on Jesus.

F1 THE MOVIE also has a strong pro-capitalist or pro-business viewpoint. Brad Pitt’s character is trying to help his friend, Ruben, keep his racing company. The movie clearly shows that hard work and teamwork are crucial to making that happen.

Sadly, however, the movie also has lots of light to medium foul language, plus five strong obscenities and profanities. There’s also an implied bedroom scene between Brad Pitt’s character and the team’s female technical director, played by Kerry Condon. So, MOVIEGUDIE® advises extreme caution for F1 THE MOVIE. The movie would get a bigger audience if it eliminated more than half, or most, of the foul language.

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Movie Reviews

‘Balaramana Dinagalu’ review: A restrained look at the gangster mind

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‘Balaramana Dinagalu’ review: A restrained look at the gangster mind

In K M Chaitanya’s Aa Dinagalu (2007), actor Atul Kulkarni, playing gangster Agni Sreedhar, says man is the biggest weapon in the underworld. “The rest are just properties,” he adds. The yesteryear Kannada crime drama, based on the real incidents from a big chapter of the Bengaluru underworld, stood out for its understated storytelling.

In Balaramana Dinagalu, which has the skeleton of a sequel to Aa Dinagalu, weapons are seen in the first scene. As the film progresses, we encounter an arsenal of knives, razors, machetes, and guns — each an extension of the gangsters’ identities and an indispensable tool in their quest to remain feared and lethal. Chaitanya attempts to make the movie a mix of reality and entertaining tropes.

Balaramana Dinagalu (Kannada)

Director: K M Chaitanya

Cast: Vinod Prabhakar, Priya Anand, Atul Kulkarni, Ashish Vidyarthi, Ramesh Indira

Runtime: 151 minutes

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Storyline: Balarama, an ordinary young man from a remote village in Karnataka, becomes a dreaded gangster who rules Bengaluru

The director has roped in the same cast, who played the dreaded gangster trio of Kotwal Ramachandra (essayed by Sharath Lohitashwa), Jayaraj (Ashish Vidyarthi), and Agni Sreedhar (Atul) in Aa Dinagalu. That’s what makes one instantly curious about Balaramana Dinagalu. The only difference in the latest movie from the previous one is the fictionalised names of the real dons. Jayaraj becomes Jayaram, Sreedhar is Shashidhar, and Muthappa Rai is called Monnappa Rai (played by Ramesh Indira).

Even if these characters are the big draw in the movie, the plot revolves around the journey of Balarama, a character with a small yet significant presence in Aa Dinagalu. Vinod Prabhakar’s portrayal of the titular role is the film’s biggest takeaway. He makes us feel for the character, and is quite impressive in the final portions of the movie, where Balarama struggles to break free from the underworld’s trap.

Balaramana Dinagalu is impressive when it reflects the psychology of a gangster. Jayaram is shown helping the needy while Balarama urges young boys to focus on education. It’s as if these men who commit heinous acts, have a heart as well. Shashidhar is often called “intellectual gangster”, as the film reflects how the underworld fears well-read men in the field. Politicians and policemen, the supposedly the protectors of people being part of the crime nexus, strengthen the movie’s world-building.

The film falters in its inability to rise above the plot’s predictability. Balarama’s journey is no different from the often-seen life of an innocent man from a small town who becomes a gangster owing to uncontrollable circumstances. I wish the film had delved a bit more into Balaram’s personality. Why does he not resist becoming a gangster? What dreams did he have when he moved to Bengaluru from a small town?

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“My hands speak louder than my words,” says Balarama. This signals that he is someone who settles conflicts with fists rather than conversations. Despite this detail, Balaram’s entry into the underworld feels too sudden. The predictability strips the sheen away from the well-shot action sequences, as the result of every fight is known beforehand.

Chaitanya is careful not to glorify the act of violence. He wants to portray the negative effects of violence on the children in a family, as the movie ends with a hard-hitting frame. It’s impressive that the actor-director duo has delivered a non-hero-worshipping gangster saga.

That said, the movie could have benefited from a couple of gripping episodes. While it’s important not to romanticise the life of a gangster, there is no harm in delivering moments of peak tension, the biggest plus of the genre. 

The assassination of Jayaram, the impact of Kotwal’s elimination on the underworld, or the Sakleshpura incident involving Monnappa Rai, had the potential to offer edge-of-the-seat, high-stakes portions, but they are rushed. The love story is simple, but it lacks emotional intensity between the lead couple. Santhosh Narayanan’s dance numbers are forgettable (despite it being his forte) while his montage melodies are beautiful.

Balaramana Dinagalu adopts a restrained, almost clinical approach to the gangster genre. While that keeps it from glorifying violence, it also leaves the narrative feeling a touch too neat and emotionally muted.

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Balaramana Dinagalu is currently running in theatres

Published – June 28, 2026 07:58 pm IST

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Movie Reviews

A New Dawn Anime Film Review

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A New Dawn Anime Film Review

Perhaps there’s a certain irony in a story about a fireworks factory mostly keeping away from explosive drama. Yoshitoshi Shinomiya‘s lowkey feature directorial debut A New Dawn is at the very least visually captivating, comprised of lush and rather hypnotic production design. The story is small scale focusing on a trio of friends who try to save a fireworks factory in their hometown, but the imagery feels expansive and lush. A New Dawn begins with a beautiful and vaguely familiar display of this beauty: the flowing, painterly imagery of its opening sequence recalls Shinomiya’s work on the flashback sequence in Makoto Shinkai‘s your name., immediately showing that the film’s visuals might transcend its small town drama.

A background artist himself on films by Makoto Shinkai as well as the similarly resplendent Pompo: The Cinéphile, it makes sense that this history would be felt in the background works of A New Dawn. They’re dense with detail, rich with almost luminous color and illustrative texture. Shinomiya, who also wrote and storyboarded the film, veers away from the photorealism associated with someone like Shinkai through some impressionist touches – like the splotches of green paint which represent treelines – which sometimes turns into outright abstraction like when a character begins to run through the space. Sometimes there are swaying, morphing textures in the background as splotches of paint subtly shift around. On a more intimate level, the cluttered and characterful interior spaces tell a story too. This is a long-winded way of saying A New Dawn looks really, really good.

It’s not just in the tableaux of its countryside habitats and ramshackle living spaces carved out of abandoned warehouses, but there’s a sense of invention permeating through A New Dawn‘s various experiments with visual languages of animation. The most prominent is an incredibly charming stop motion animated sequence using a cardboard diorama and real human hands invading the shot in a creative reflection of a drunken character’s perspective. Even though it broadly still looks “anime” through its character design, there are also smaller details which work to set A New Dawn apart from its contemporaries, touches like its occasional lineless artwork or the way rain is defined through smudged black brushstrokes.

It’s in the screenwriting where A New Dawn begins to feel more run of the mill. Its story about the constant chasing of the majesty of a fabled firework “Shuhari” feels both familiar in its premise but also a little bit alienating in its structure. The importance of the firework itself never feels clear – the moment its mystery is unravelled hardly feels like a revelation as a result, something amplified by how the writing often obfuscates what anyone is talking about. The whole story feels a little distancing, and despite the allure of the background art and design of the spaces the characters inhabit, the people themselves feel constantly at arms length.

It almost pulls things back with its climax – the detonation of the “Shuhari” goes a long way in justifying the circular conversations about its nature and origins – a painted streak of light launches into the sky before turning into something otherworldly, suddenly tripling down on the film’s captivating exaggerations.

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Hollywood Pariah Kevin Spacey Opens in a Straight to Video Movie with 25 Producers, 1 Review, No Theaters, No Press – Showbiz411

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Hollywood Pariah Kevin Spacey Opens in a Straight to Video Movie with 25 Producers, 1 Review, No Theaters, No Press – Showbiz411
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As we know, Kevin Spacey is a pariah in Hollywood.

He’s in a rare club with Mel Gibson, Armie Hammer, Nate Parker, Jonathan Majors, and James Franco.

Spacey has managed to avoid jail time by reaching settlements with various accusers of sexual malfeasance, all men.

His film career — which included two Oscars and a Tony Award — has been destroyed.

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Spacey has been reduced to appearing in straight to video films, made for whatever reason the various producers involved know only to themselves.

On Friday, a new Spacey movie surfaced against its will, but not in theaters. It also went straight to video. “1780” is a period piece set during the Revolutionary War. Spacey plays a toothless Pennsylvania country trapper.

There is no rating on Rotten Tomatoes, largely because there is only one review. The review by Alan Ng of Film Threat is positive. Ng recently reviewed “World War Bigfoot,” which he also liked. He seems to specialize in reviewing films no one has heard of.

“1780” does boast 25 producers who will probably not see a return on their investment. But they can say they made a movie with Kevin Spacey.

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