It’s fitting that the cinematic rendering of Formula One—a sport drenched in corporate logos and sponsorships—operates like a slick, well-oiled machine. Rampant with blatant product placement, Joseph Kosinski’s F1 often feels like a $300 million commercial for both Apple and the revered motorsport. Yet, Kosinski’s follow-up to Top Gun: Maverick mostly succeeds in channeling the spirit of bygone blockbusters. While aggressively formulaic and built from recycled parts, it feeds off star power and stunning vehicular cinematography to cross the finish line with flair.

Brad Pitt stars as Sonny Hayes, a once-great driver haunted by a career-ending crash. After years of drifting between odd racing jobs, he’s recruited by his old friend Ruben (Javier Bardem), the owner of a struggling F1 team, to finish the season’s final nine races. Hayes butts heads with rising star Joshua Pearce (Damson Idris), sparking a high-octane redemption arc.

Despite its high-stakes setting, F1 rarely takes risks. Its story is stuffed with clichés, surface-level character arcs, and dialogue so simplistic it borders on parody (“We can’t win if we don’t try”). Kerry Condon, a clear talent, is wasted in a love-interest role that sidelines her character’s engineering chops.

Add in a sterile soundtrack featuring Don Toliver, Ed Sheeran, and Tate McRae, and the quieter scenes feel more like flashy music videos than cinema. But when F1 shuts out the noise and locks us in the cockpit, Kosinski’s immersive filmmaking shines. The final sequence, which is equally silent, dazzling, and daring, is a reminder of the death-defying magic racing films can achieve.

Commercial as it may be, F1 still packs enough visual and star-powered punch to earn its place on the summer blockbuster grid.

F1 is in theatres June 27.