“F1: The movie” comes at the ideal summer moment, carrying the public to a nostalgic era before the uninterrupted CGIs and the sluggish productions, when the films were deafening, the stars shiny and the protagonist’s masculine energy was overflowing with irresistible passion.

From the first scene – the introduction of titles with Brad Pitt, producer Jerry Brukheimer and a Led Zeppelin’s “Whole Lotta Love” dynam within the first ten minutes.

As the title points out, the “F1” follows a classic formula, but it works perfectly, even when the constant engine roar, turns difficulties and explanatory dialogues threaten to become monotonous. Directed by Joseph Kosinski and written by Eren Kruger-the creative team behind the nostalgically irresistible “Top Gun: Maverick”-the film tells the return of Sonny Hays (Brad Pitt) in the Formula 1 championship, a few years after he had a one-year-old one.

The scenario, though familiar, revives through a fine cast: when Javier Barndm, in the role of Ruben – a former teammate and friend of Sonny before the fateful crash – asks him to return, even the most trivial scene acquires a playful scene. Ruben, the owner of a collapse group, needs an urgent victory to survive.

Sonny returns to a sport that looks more like a family business than with relentless competition. The eccentric, multilingual workshop includes Kate (Kerry Konton), Casper (Kim Bodnia), a cold member of the Board of Directors (Tobia Menzis) and the rising talented driver Joshua Pierre. (The logos of the real sponsors of F1-Rolex, T-Mobile, Heineken, Tommy Hilfiger-take themselves).

The difference between generations between veteran Sonny and ambitious Joshua fills the film with intensity and humor – Pete and Indris take advantage of every moment of competition, arrogance and inevitable humiliation to the full. Even the smallest moments – like those with Joshua’s mother, Bernadett (Sarah Niles), who combines maternal affection with harsh straightforwardness – add to life. The tire change crew moves with dancing precision, and the narratives of technical terminology keep the viewer alert.

The expected spark between Sonny and Kate is accompanied by a sweet romantic complexion: Kerry Konton – remember her Oscar nomination in “The Vanses of Ininin” – a genuine, mature woman in his forty, next to her.

Brad Pitt enters sixties with grace and self -awareness that give depth to his interpretation: an instant scene where he kneels and looks at the void is more fun as a fun editing than a dramatic climax. He seems to enjoy the game, constantly smiling – and conveying this relaxed, playful mood.

At the core of the car racing, “F1” stands decent next to titles such as “Rush” and “Ford V Ferrari”, while honoring the classic “Grand Prix” (1966) with split-screen notes. Filming in real matches in England, Abu Dhabi, Mexico, Belgium, Las Vegas and beyond compensate fans, presenting both the technology and the athletic strength of the drivers. Photography director Claudio Miranda places the camera into the car, conveying to the viewer the sense of g-forces and tension; and for the uninitiated, the constant commentary by the agonists and his team of Sonny clarifies the technical issues, the challenges of the track and the challenges.

Yes, explanations can be tiring and the constant rounds look repeated. However, “F1” reaches the end with complete success, because the delivers exactly what it promises: an exciting, deafening getaway. Like his hero – the lonely guy who turns out to be an excellent team player – so the film applies the first law of Hollywood’s physics: to have it all … and to have it with the above. Even the second fireworks show, which in another production would seem exaggerated, falls exactly to the right timing.