This week, a distinguished group of film industry experts convene to dissect the widely successful F1 Movie, a summer cinematic event that has surpassed half a billion dollars in global box office revenue, warranting closer analysis.
Previously, we examined it from the perspectives of reporters and enthusiasts. Now, we present the assessment of movie professionals: Does it hold up as a well-made film from a technical standpoint?
How effective is its narrative, and what are our thoughts on the crucial action scenes? How does its handling of female characters measure up? Furthermore, do films of this nature offer any lasting advantages to the racing series?
In Part II the following week, the panel will draw comparisons to the 1960s classic Grand Prix, alongside other noteworthy motorsport films such as Rush, Days of Thunder, and Le Mans. Are they compelling films? And what elements are essential to crafting a film that resonates with a broad audience, extending beyond just motorsport aficionados?
Joining James Allen in the studio are Eddie Hamilton, the editor behind Top Gun Maverick and the most recent two Mission Impossible installments; Adrian Wootton OBE, who heads the British Film Commission, which encourages productions like the F1 movie to film in the UK; Mark Lane, an award-winning film producer with an extensive resume of over 40 credits, including I am not a serial Killer and The Cut ; and Nick Manzi, a producer with numerous successful films to his name, from Blitz to Salmon Fishing in the Yemen, in addition to being a dedicated F1 follower.
Send your comments or questions to: @jamesallenonf1 on X or jamesallenonf1@autosport.com.
