The Rewatchables

‘F1’ With Bill Simmons, Chris Ryan, and Van Lathan

December 23, 2025

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  • The film 'F1' is hailed as a major cinematic achievement, pushing filmmaking forward in a way comparable to 'Avatar', despite potential story simplicity. 
  • The production of 'F1' was highly complicated due to technology, strikes, and COVID, yet producer Jerry Bruckheimer ensured the final product showed no visible seams, serving as a monument to effective producing. 
  • The movie successfully revives the star-driven, cultural phenomenon sports movie trope, which the hosts feel Hollywood had largely abandoned for being 'vapid but fun'. 
  • The discussion heavily debates whether the movie would have been narratively stronger if Sonny (Brad Pitt's character) had crashed and allowed JP (Damson Idris's character) to win the final race, viewing Sonny's victory as potentially detrimental to the movie industry's need to create new stars. 
  • The crash scene involving Sonny is highlighted as a moment of genuine tension because, unlike typical big-budget IP films, the audience genuinely feared Brad Pitt's character might die. 
  • The film's title, 'F1,' is considered a weak choice, with 'Apex' being a previously reported but also disliked alternative, suggesting the movie lacks a strong, independent title. 
  • The hosts debate whether Joseph Kosinski ('Joe Kaczynski' as mispronounced) or Brad Pitt was more essential to the success of the movie 'F1,' ultimately leaning toward Kosinski's directorial impact. 
  • The discussion touches upon Brad Pitt's career trajectory, suggesting 'F1' was a necessary success after a 'Rocky last 10 years' for the actor. 
  • The conversation concludes with the hosts reflecting on their favorite 'Rewatchables' episodes from the year, citing 'High Fidelity' and 'Halloween 2' as highlights, while also briefly touching on the topic of British actors playing American historical figures. 

Segments

Initial Movie Praise and Production Woes
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(00:00:00)
  • Key Takeaway: ‘F1’ is immediately positioned as an incredible, groundbreaking film that successfully navigated a complicated production history.
  • Summary: The episode opens with an ad for ‘Dead Man’s Wire’ before pivoting to ‘F1’, which the hosts feel is pushing moviemaking forward, similar to the feeling evoked by ‘Avatar’. The production faced complications from technology needs, strikes, and COVID, leading to initial fears of disaster. Despite this, the film is declared the number one movie of 2025 so far.
Theatrical Experience and Movie Trends
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(00:04:29)
  • Key Takeaway: The success of ‘F1’ exemplifies a 2025 trend where audiences returned to theaters for spectacle films they didn’t want to wait to see at home.
  • Summary: The hosts note that ‘F1’ was a movie that demanded to be seen on IMAX, contributing to a broader return to theaters in 2025 alongside films like ‘One Battle’ and ‘Sinners’. The film fits the mold of a star-driven, 80s-style movie centered on a cultural phenomenon, a type of film that had previously disappeared from mainstream cinema.
Racing Movies vs. Real Racing
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(00:07:18)
  • Key Takeaway: The appeal of racing movies often surpasses the appeal of watching the actual sport, as movies combine cinematic editing with behind-the-scenes drama.
  • Summary: One host admits to preferring racing movies like ‘Grand Prix’ and ‘Days of Thunder’ over watching real F1, Indy 500, or NASCAR events. This preference extends to other mastery-focused activities, such as watching cooking scenes in films like ‘Chef’ rather than actual cooking shows. Cinematic presentation elevates these activities into compelling viewing experiences.
Sports Movie Tropes Analysis
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(00:12:29)
  • Key Takeaway: ‘F1’ successfully employs several classic sports movie tropes, notably avoiding the ‘white and black not getting along’ dynamic.
  • Summary: The discussion lists common sports movie tropes, including ’the best that never was’ (citing Marcus Dupree) and the ‘old guy versus new guy’ dynamic. The film notably avoids the racial pairing trope seen in ‘White Men Can’t Jump’, instead focusing on the downtrodden team needing a spark and the climactic race/fight game.
Carrie Condon’s Character Impact
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(00:16:05)
  • Key Takeaway: Carrie Condon’s character is praised for subverting the trope of the disapproving female lead, being fully supportive and well-developed.
  • Summary: The character played by Carrie Condon is highlighted because she is not the typical ‘you’re going to die’ figure; instead, she has a cool job and is genuinely invested in Brad Pitt’s character. Her character’s virtue is not tied to withholding intimacy, which is seen as a positive departure from older movie formulas.
Brad Pitt’s Career Trajectory
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(00:18:02)
  • Key Takeaway: Brad Pitt’s career entered an ‘icon’ phase post-2019, but the Brangelina period may have cost him several potential ‘Moneyball’-style character roles.
  • Summary: The hosts map Pitt’s career through decades, noting his current status as an icon comparable to Paul Newman. The intense celebrity surrounding his relationship with Angelina Jolie is suggested to have diverted his career path away from potentially more character-driven films between 2012 and 2018.
Athlete Archetypes Across Decades
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(00:29:03)
  • Key Takeaway: Damon’s character, Josh Pierce, best captures the 2020s athlete archetype, reflecting the impact of social media on public persona.
  • Summary: The panel identifies key athlete archetypes in film by decade, including Nick Nolte (70s), Ivan Drago (80s), and Willie Beaman/Rod Tidwell (90s). For the 2020s, Damson Idris’s character, Josh Pierce, is selected because his storyline effectively addresses the complexities of managing a public persona amid social media.
Jerry Bruckheimer’s Producing Legacy
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(00:35:01)
  • Key Takeaway: ‘F1’ serves as a monument to Jerry Bruckheimer’s producing prowess, demonstrating his ability to manage massive logistics and secure top talent across five decades.
  • Summary: The hosts list 16 Bruckheimer films they have covered on ‘The Rewatchables’, noting his five-decade run of success. Bruckheimer’s strength lies in getting top talent like Pitt and Kosinski together and managing complex logistics, such as securing specialized cameras for F1 cars, ensuring the final product looks expensive and seamless.
Kosinski’s Directorial Lineage and Apple’s Credibility
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(00:40:58)
  • Key Takeaway: Joseph Kosinski is positioned as an inheritor of Tony Scott’s stylistic revelations in filming machinery, and ‘F1’ provided Apple with crucial movie-making credibility.
  • Summary: Kosinski is credited with pushing filming movement forward, similar to Tony Scott, especially in action sequences. The film’s high craft and success, contrasting with the messiness of Apple’s ‘Napoleon’, solidified Apple’s standing as capable of producing high-quality theatrical releases.
Rewatchable Scenes and Fan Reactions
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(00:46:54)
  • Key Takeaway: The opening scene featuring Sonny Hayes in his trailer, set to Led Zeppelin, is cited as an immediate, effective character introduction.
  • Summary: The opening scene where Sonny Hayes prepares for the race, complete with an ice bath and the use of Led Zeppelin’s ‘Whole Lotta Love’, instantly establishes his character’s intensity. The scene is contrasted with the training montage trope, showing both old-school (Sonny) and new-school (JP) approaches to preparation.
Hottest Take on Sonny Winning
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(00:55:57)
  • Key Takeaway: The movie’s narrative is arguably worse because Sonny wins the final race, as it mirrors older stars retaining power, which is bad for the movie industry’s future.
  • Summary: One host presents the ‘hottest take’ that the movie would be better if Sonny crashed and Damson Idris’s character won the Abu Dhabi race. Sonny winning is framed as a metaphor for baby boomers (like established stars) staying in power, hindering the industry’s ability to build new superstars like Brad Pitt or Tom Cruise.
Best Handover Scene Comparison
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(01:07:09)
  • Key Takeaway: ‘The Color of Money’ is cited as the best example of an ‘old dog, new dog’ handover where both characters achieve a satisfying outcome.
  • Summary: The discussion compares the handover dynamic in ‘F1’ to other films, noting that ‘The Color of Money’ achieves a superior result where Newman wins but is left unable to see the angles, giving the young guy the win. In contrast, the speakers felt ‘F1’ didn’t develop Damson Idris’s character enough for his victory to feel satisfactory on the first viewing.
2025 Elements and F1 Fandom
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(01:01:25)
  • Key Takeaway: The F1 Las Vegas race and JP watching Sonny’s 1993 accident on YouTube root the film firmly in contemporary 2020s culture.
  • Summary: The hosts identify the F1 race in Las Vegas and the use of YouTube for archival footage as distinctly 2025 elements. They characterize F1 as the new soccer in America—a sport cosmopolitan fans feel obligated to pretend to care about, often supporting drivers over teams, similar to LeBron James fandom.
Rewatchable Scenes and Diner Encounters
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(01:00:08)
  • Key Takeaway: The Manza racist scene and the final diner reunion between old friends are among the most rewatchable moments.
  • Summary: The Manza scene, featuring the virtual safety car, rain, and the slingshot move, is highly praised for its visual execution. The speakers also love the trope of two old friends pretending not to know each other in a diner before embracing, citing the emotional payoff of that specific type of reunion.
Brad Pitt’s Best Characters
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(01:04:54)
  • Key Takeaway: Brad Pitt’s characters in ‘True Romance’ and ‘Fight Club’ are considered his best, with Floyd from ‘True Romance’ being a personal favorite for one host.
  • Summary: The hosts debate Brad Pitt’s best roles, with ‘True Romance’ and ‘Fight Club’ being top contenders. Pitt’s ability to play slovenly characters well, exemplified by his trailer living in ‘F1,’ is noted as a key part of his appeal.
Weak Links and Improbable Elements
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(01:11:14)
  • Key Takeaway: Sonny’s age (around 51-53) for an F1 driver is mathematically impossible based on historical records, making it the film’s weakest link.
  • Summary: The manager character for JP is nominated as the ‘weak link’ for lacking commitment, but the discussion pivots to Sonny’s age. Historical data shows the oldest F1 Grand Prix winner was 53 in 1951, making Sonny’s comeback at 51-53 after spinal surgery highly improbable.
Title Critique and Commercial Effectiveness
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(01:13:03)
  • Key Takeaway: The title ‘F1’ is criticized for being too confusing and making the movie feel like an explicit advertisement, unlike a fictional title like ‘NBA’ would be for a basketball movie.
  • Summary: The title ‘F1’ is deemed worse than the rumored title ‘Apex’ because it directly references the real-world property, potentially confusing search results. However, the movie is acknowledged as an incredibly effective commercial, making the intoxicating world of F1 seem appealing even to non-fans.
Old Guys Schooling Young Guys Ranking
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(01:16:29)
  • Key Takeaway: The scene where Robin Williams dismantles Matt Damon’s worldview on the park bench in ‘Good Will Hunting’ is ranked as the number one ‘old guy schooling young guy’ moment.
  • Summary: The segment ranks scenes where older characters teach younger ones life lessons, placing Yoda schooling Luke and Kenobi schooling Anakin in the top two spots. The number one spot goes to Robin Williams’ monologue in ‘Good Will Hunting,’ where he critiques Damon’s character’s superficial understanding of life experiences.
Casting What-Ifs and Cut Roles
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(01:22:58)
  • Key Takeaway: Actress Simone Ashley was reportedly cut from the film after completing promotional interviews, highlighting the harsh reality of post-production editing.
  • Summary: The hosts note that Damson Idris passed a real F1 driving test to secure his role, and they speculate on who he beat out. They confirm Simone Ashley, cast as the love interest, was cut entirely, which must have been a difficult experience after doing press for the film.
Nitpicks on Logistics and Age
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(01:32:15)
  • Key Takeaway: Sonny’s ability to fly from Abu Dhabi to Las Vegas and immediately race without severe jet lag or physical repercussions is a major logistical nitpick.
  • Summary: The hosts question how Sonny’s van travels between international races and how he could race immediately after a 30-hour flight with a metal rod in his back. They also note Brad Pitt’s running form in the film was jarringly bad, possibly in character for a man with a bad back.
Racing Movie Favorites Comparison
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(01:41:38)
  • Key Takeaway: The hosts compare ‘F1’ against classic racing films like John Frankenheimer’s 1966 movie and ‘Days of Thunder,’ with one host preferring ‘Days of Thunder’ due to its Bruckheimer production.
  • Summary: A double feature suggestion included the 1966 John Frankenheimer film and ‘Days of Thunder.’ One host stated ‘Days of Thunder’ was their favorite racing movie prior to seeing ‘F1.’ The preference for ‘Days of Thunder’ was linked to its association with producer Bruckheimer.
Director vs. Star Credit
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(01:41:50)
  • Key Takeaway: The consensus is that Joseph Kosinski’s direction was more crucial to the success of ‘F1’ than Brad Pitt’s star power, as the film meant more for the director’s career.
  • Summary: The question of who ‘won’ the movie—Brad Pitt or ‘F1’ (referring to the director, Joseph Kosinski, mispronounced as Kaczynski)—was settled in favor of Kosinski. The argument was that the film represented a more significant career boost for Kosinski than for Pitt. The hosts noted that Brad Pitt’s involvement was the ’easy answer’ but likely not the correct one.
Brad Pitt’s Career Trajectory
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(01:42:09)
  • Key Takeaway: Brad Pitt needed the success of ‘F1’ to solidify his comeback following a perceived career dip after ‘Once Upon a Time in Hollywood.’
  • Summary: Brad Pitt experienced a slight career downturn over the preceding decade, which ‘Once Upon a Time in Hollywood’ partially remedied. ‘F1’ is viewed as the necessary follow-up to confirm his return to form, allowing him to move past off-field distractions. Pitt is expected to potentially collaborate with Kosinski again on an ‘F2’ before he ages out of driving roles.
Damson Idris’s Future Potential
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(01:42:51)
  • Key Takeaway: Damson Idris possesses an ‘out of this world’ career trajectory, suggesting he could anchor a major franchise like ‘Creed.’
  • Summary: In a potential sequel, Brad Pitt could transition to a team management role, allowing Damson Idris to become the central star. Idris’s career path is seen as having massive potential, comparable to the ‘Creed franchise.’ His cosmopolitan appeal is noted as beneficial for a worldwide film.
British Actors Playing Americans
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(01:43:13)
  • Key Takeaway: There is frustration among American listeners when British actors are cast in roles portraying iconic American historical figures, despite acknowledging the talent of those actors.
  • Summary: The hosts expressed annoyance upon seeing trailers featuring British actors like Emily Blunt and Josh O’Connor pretending to be American. While praising actors like David Oyelowo (Martin Luther King Jr.) and Daniel Kaluuya (Fred Hampton), the sentiment is that American actors should be cast in roles representing major American figures. The desire is for at least one prominent American historical role to be played by an American actor.
Year-End Favorite Rewatchables
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(01:44:57)
  • Key Takeaway: ‘High Fidelity’ was cited as the most satisfying movie covered in 2025 due to Rob Mahoney’s controversial take on the film.
  • Summary: When asked for the best movie covered in 2025, one host cited ‘High Fidelity,’ specifically mentioning the strong reaction generated by Rob Mahoney’s ‘hottest take.’ ‘Halloween 2’ was also named a favorite because the movie itself is considered ’nuts’ and highly entertaining. The hosts acknowledged covering many good films, including ‘Die Hard 3.’