Subscribe on Apple Podcasts, Spotify, Overcast, Amazon Music, YouTube, or wherever you listen to podcasts.
This week on Big, Noisy, Obvious and Hugely Entertaining:
In celebration of the Oscars and Best Picture nominees of 2025, Greg and Joe buckle up for Joseph Kosinski’s F1 — a movie that Greg saw three times in IMAX and loved every second of, while Joe wanted to bang his head into a wall to erase the memory of watching it.
Brad Pitt plays Sonny Hayes, an 80-year-old driver (okay, he’s 61, but the rookie can’t tell the difference) who returns to Formula One to help his friend’s struggling team and mentor hotshot Joshua Pierce (Damson Idris). It’s basically Bull Durham, but with cars. Or Days of Thunder, but with Brad Pitt instead of Tom Cruise.
Directed by Joseph Kosinski and shot by Top Gun: Maverick cinematographer Claudio Miranda, this $300+ million movie was filmed during actual F1 races with real crowds, real tracks, and the actors actually driving F2 cars made to look like F1 cars. Apple spent $130 million just to be able to make it happen. There are 2,500 VFX shots, mostly to swap out logos for product placement. Expensify is everywhere.
Is it the most formulaic sports movie ever made? Joe thinks so. Is it the most beautiful racing movie ever put to film? Greg thinks so. Does it feature Javier Bardem saying “sometimes when you lose, you win” almost convincingly? You’re darn right it does.
Also: Does Brad Pitt invoke Shooter for no reason? Yes. Does the movie feature commentators who explain why everything is dramatic? Absolutely. Would it have been better with Nicolas Cage, Christopher Walken or John Tuturro?? Probably.
Greg and Joe bring the chaos (Plan C), roll their eyes at the product placement, and discover that Rampage gets five stars but F1 gets… well, you’ll have to listen.
As with every episode, this is the conversation that needed to happen about this movie. Also: Drinking Games (logo count!), Very Important Questions, Joe’s Real Back of the Box, and more.
Note: This transcript has been auto-generated, so… You know… It’s not our fault.
Joe: All right, Greg and the movie we just watched, the main character travels the world doing the thing that he loves most, which is racing cars. If you could travel the world doing the thing that you love most, what would that be?
Greg: I think it would be just going to random cities, walking up to people and letting them know. Filmographies of directors like, do you want to talk about all the movies Ron Howard made in the 90s? Let’s do it. That’s about the only value I can bring to anybody’s life.
Joe: And it’s only Ron now.
Greg: It’s only Ron Howard.
Joe: Yeah.
Greg: How about you, Joe? What would you travel the world to do?
Joe: Teenage me? What is that? Being a tennis player, like a professional tennis player. That’s what I wanted to do. Until I realized how let not talented I was against the how. All the professionals out there. Now, it would be facilitating like conversations with groups of people, which is basically what my job is now. Okay, okay. Doesn’t even matter the topic.
Joe: I’ll just like get in there. We’ll just social, work it up, make people feel heard. It’s a lot of emotion in there. Do you want to do you want to explore that a little bit further, that sort of stuff? Yeah. Be great. Everyone would hate me. Be awesome.
Greg: I mean, if everyone’s going to hate you, I think we should probably travel together and you could walk up to people and say, excuse me, miss, would you like to hear about the filmography of Joel Schumacher?
Joe: Yes.
Greg: Let me introduce you to Greg.
Joe: Yeah, we’ll just combine them together.
Greg: If you can facilitate these conversations for me, between me and someone who’s not interested.
Joe: You know, perfectly like Batman and Robin. Really? Let’s let’s get into it right now.
Greg: All right, well, I got to ask around the room here, Javier Bardem. Are you ready for this episode? No. Oh, okay. Brad Pitt, are you ready? What do you want to get into it?
Greg: Yeah. Okay. Well, I’ll take that as a yes. Joey. Should we get to the show?
Joe: Let’s do it.
Joe: See? Like, straight up. Straight as an arrow. No sugar. When you look in the mirror, you see this rough and tumble old school cowboy.
Joe: Doesn’t take orders. Goes his own way, Well, I have news for you. Formula one is a team sport. It always was. The only question here is, why did Sonny Hayes come back to F1? It’s all right. You just wait. I’m quicker than you.
Joe: Ever seen a miracle? Well, yeah.
Greg: How do you think I feel if you die on the track?
Clip: Three laps. Three laps is a lifetime.
Greg: In celebration of the Oscars, the Best Picture nominees of the year 2025. We are here to talk about a movie called F one. We are talking about director Joseph Kosinski re teaming up with a lot of his Top Gun Maverick crew to work with Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Tobias Menzies. That might be all we need to mention in this movie.
Greg: Here. We should give a special shout out to Sarah Niles from Ted Lasso. It’s time for us to talk about the Oscars, and it’s time for us to talk about F1. Joe Sky Tucker, what makes.
Joe: F1.
Greg: A great bad movie?
Joe: If I was appalled that Top Gun Maverick was nominated for an Oscar, sure, sure. I am shocked and just horrified by the fact that this 2.5 hour movie that is just an ad for F1 and all the sponsors in it, is even considered to be nominated for an Oscar. It is the most formulaic, god awful movie I have watched in a long time, and I hated every second I watched this movie.
Joe: I could not believe. I just cannot believe it was nominated for Best Picture, and I feel like I am missing something. I mean, Joseph Kosinski has figured out the formula, whatever the IE formula is for his movies. The only positive I can say it’s a beautiful movie. It is a shot that’s the cinematography is gorgeous. Yeah, but you only need 10s of this movie.
Joe: I mean, this is the most formulaic sports movie out there. As I watched, those is like, this is just a waste of time and resources. They spent so much money on this and so much advertising in it that if you took all the money that they spent on it, they could have, you know, built so many orphanages and wells and whatever.
Joe: I just I cannot believe it.
Greg: You hated this movie.
Joe: Yeah.
Greg: Rampage five stars.
Joe: F1 out.
Greg: There. You.
Joe: Yeah.
Greg: Hitman’s bodyguard.
Joe: Right? That’s right. I will take Top Gun Maverick.
Greg: Really?
Joe: Every day of the week over this movie. Interesting. And Top Gun Maverick was also just a total 2.5 hour ad for the Air Force.
Greg: The Navy? How dare you!
Joe: Or the Navy? Yeah, there was no conflict in this movie. There was like, the plot was. I just wanted to bang my head into a wall.
Joe: And not the memory of watching this movie out of it. That’s how I felt. Greg, what did you think of this movie?
Greg: I loved this movie. I thought this I mean, I don’t disagree with anything you just said.
Joe: Okay.
Greg: Yeah. It’s such a fun ride. And I saw this movie opening weekend in Imax, which I think is the way you should see this movie. You talk about the cinematography. It is just.
Joe: The.
Greg: Most beautiful, expensive looking movie. I feel like every dollar, almost every dollar is on the screen. Apple spent something like $130 million just to be able to make this movie. That wasn’t a production cost. That was just a okay, well, let’s you make this movie Apple. I feel like Joseph Kosinski and his cinematographer, the same cinematographer as, Top Gun Maverick, Claudio Miranda, is his name.
Greg: It just looks like a gazillion dollars to me. It’s never boring visually. There’s always something going on, the way the shots are constructed, it’s just kind of like, this is really a well made movie. It’s also so formulaic. You’re right. Well, it does some things sort of differently than you would expect. Like, this isn’t Hoosiers you know.
Greg: I think this movie is better than Days of Thunder.
Joe: I would watch Days of Thunder really every day of the week over this movie. Okay.
Greg: We definitely need to get two days of thunder then.
Joe: And that of total formulaic early Tom cruise. You know he needs the mentor. He’s the hothead kid who needs, you know, some controlling and all of that, right?
Greg: I mean, that was the movie he made with Tony Scott after Top Gun, with Jerry Bruckheimer producing and Joseph Kazansky after making top Gun Maverick, produced by Jerry Bruckheimer. He makes basically Days of Thunder, but with Brad Pitt.
Joe: I mean, was Tom cruise unavailable or did not want to do another racing movie version?
Greg: He was probably busy with the Mission Impossible movies.
Joe: Probably you could interchange any actor for any of the characters in this, because they are not asked to do anything but stand there and look pretty on screen.
Greg: So yeah, I think that Brad Pitt allows himself to look more aged than Tom cruise does. Yeah, you know, we’re kind of in the older Brad Pitt years now. He’s like 61 in this movie.
Joe: Yeah, and.
Greg: I don’t think this is a better movie than Moneyball, which I think is like the blueprint of the perfect older Brad Pitt movie.
Joe: Yeah, I do like the movie Moneyball.
Greg: That movie is so incredible to me. And so this movie, I think, is trying to be Moneyball. I think Moneyball is a it’s probably the most beautiful baseball movie, but this is also, I bet, the most beautiful car racing movie. I mean, it’s not driven with Sylvester Stallone.
Joe: It’s not free, Jack or it’s not.
Greg: Free Jack.
Joe: It’s Kiefer Sutherland. Right? But yeah.
Greg: I mean, Ford v Ferrari was beautiful, but not this beautiful. But that movie was made for like $90 million. This was made for like 300.
Joe: When I think about, like, the best sports movie. And we actually we were trying to get more MacDonald on the show to do an Oscar show, and she said that she, like in this movie to another great baseball movie, maybe one of the best baseball movies ever, Bull Durham. Yeah. And it does follow that formula a little bit.
Joe: But Bull Durham, from a movie perspective, has interesting characters. It’s funny, it’s poignant. Sure. It really shows the grind of what the minor leagues are and, you know, the kind of the different kind of people that you meet along the way in the minor leagues, that they’re the career minor leaguers or the people that are on the way to the majors.
Joe: From that perspective, it is a far superior movie in terms of like the old ballplayer mentoring the young ballplayer, the old racer mentoring the young racer. In this one, they spent so much money to make it beautiful and forgot to make it interesting.
Greg: Let me read what Moyer said, because it’s pretty awesome. She was going to be here for this, but she was out of town, so we’ll have her on the show sometime soon. She says. F1 has a plot centered on a very old story, the old pro who reluctantly comes back for one more job. In this case, the veteran is Sonny Hayes.
Greg: Brad Pitt, a former F1 phenom who’s now hanging around the edges of the racing world but is coached by an old friend. Harvey are brought in to join a struggling F1 team and perhaps help settle down the team’s hot shot. Rookie Joshua Pierce, played by Damson Idris, notes this is basically the plot of Bull Durham, but but with cars instead of baseball.
Greg: I’m amazing. Maya McDonnell just hitting it over the fence in baseball terms.
Joe: Absolutely. Also like back off Moira. That’s the back of the box. That’s my job.
Greg: So. So am I hearing you right, that this movie would have been better if it wasn’t about F1, if it was about maybe like a minor league of racing, because I feel that way.
Joe: I would have been fine. It was an F1 or minor league, but for me it was. There’s no real conflict in this movie. There’s a little bit between Brad Pitt and Damson Idris. As you know, you would expect, but nothing happens in this movie that I wasn’t expecting. It felt like F1, the movie brought to you by F1 and all of our sponsors that we’re going to pay for this with every sponsor, every shot in this.
Greg: Movie is going to say Expensify.
Joe: Yes.
Greg: They made $40 million from companies.
Joe: Yeah, that does not surprise me at all. Yeah. And I get it. Like, to me, this is like, yeah, because the economics of films have changed and you don’t have, you know, rental and DVD sales and those sorts of things anymore. And that on streaming it’s harder to make money. And the kind of the economics of it are a little different.
Joe: Sure. I don’t begrudge any film for product placement.
Greg: No.
Joe: This movie takes it to an art form of just like every shot feels like there is something in it from. Yeah, the overpass that they’re driving under to the car, to the helmets, to the their onesies that they’re wearing.
Greg: Right. But so the days of thunder.
Joe: Yeah. And again, I don’t have any problem with that. But for me I started to just know that because I was so bored with this movie, then I was just like, how many, how many are in this shot? How many product placements are in this shot? Oh four okay. Awesome.
Greg: Yeah. Like they filmed it during F1 races. They would do it in between whatever it’s called legs or speed trials of real F1 races. So the crowds in this movie are real crowds at an F1 race, and they’re on the track of a real F1 track at the time that that F1 race is happening, they’re not actually driving F1 cars, they’re driving F2 cars that are made to look like F1 cars.
Greg: But it is also really the actors in the movie driving a lot of the time, which is cool. It’s kind of like how they made, you know, Tom cruise looked like he was flying the plane and they’re actually filming, you know, as they’re going down the track. There’s 2500 visual effects shots in this movie, but they’re mostly to swap out the logos on other.
Greg: Other cars. But like all of Days of Thunder was like it wasn’t like Mountain Dew.
Joe: Yeah.
Greg: I feel like this episode is going to be me pitching you ideas of what you would have liked.
Joe: Yeah.
Greg: Would you have liked this movie more if it starred Nicolas Cage as Sonny Hayes?
Joe: Oh, I wonder if.
Greg: Because it would have been worse. So you would have enjoyed it more?
Joe: Probably. I’m just imagining him in the in the Brad Pitt role and the randomness of the Nicolas Cage line with the desk and like, Pepper in to make it somewhat like they needed something like that. They didn’t have any real life, right? Characters that were there for like humor or to like lighten the mood or anything.
Greg: Like, I liked the crew, though, and I liked the crew. I liked when they were reacting to how Brad Pitt was like, breaking the rules and causing all kinds of shenanigans on the racetrack, and that was actually helping them get an advantage. So I thought the conflicts happening within the same team was an interesting concept for a movie, not for you.
Greg: For me, I was like, Joe is going to hate this.
Joe: Yeah, I just, I can the characters just weren’t interesting to me.
Greg: It’s a very muted performance from Brad Pitt in this movie. And and Nicolas Cage would have done things that you didn’t expect, kind of like how Tony Scott talks about Denzel Washington in every take. He does something that surprised him. There’s not a lot of surprising you in Brad Pitt’s performance in this movie.
Joe: To me, it’s they have good actors. They have better actors than the script, and they deserve better. To me, that’s what it feels like. I didn’t even mind the fact that the people who were doing the commentary, yeah, during the races, everyone could hear them on the trash or I almost like it was the PA announcer, but also the like the TV copy.
Joe: And you couldn’t tell, like exactly where that line was. Like, that was super dumb. But I was like, oh, I totally forgive it because they’re kind of explaining F1. The people who don’t understand F1.
Greg: It’s the most amazing exposition hack, having commentators explain to you why what you’re watching is dramatic.
Joe: Yes, exactly.
Greg: Watching it for this episode, I was so entertained by the commentators in the fact that it was like, man, they could really just say anything and cause me to feel anything right now. Yeah. Okay, so you said, there’s no unexpected line readings. What I hear you saying is you wish Sonny Hayes was played by Christopher Walken.
Joe: Yep. Okay. And then again.
Greg: Or Denzel Washington, obviously. Who else would be an unexpected person to play Sonny Hayes if Brad Pitt was given a little bit of a flat performance in this.
Joe: Throw in McNulty. Sorry. Let’s just recreate 48 hours and we can have. Yeah, we’ll bring in Eddie Murphy 100%.
Greg: Oh, that’s a great idea.
Joe: Racecar driver should be flamboyance and bigger than life because they’re big stars. They try to do a little bit with Damson Idris and his character kind of doing it more for the applause than for, you know, the love of the game and for the race. I mean, that’s kind of his arc that he’s got to go on. But yeah, even he could have been pumped up.
Joe: I mean, it’s got really great people in it. I’ve seen Brad Pitt, Brad Pitt in 12 monkeys, and in the 90s was doing all kinds of weird, random indie stuff. Yeah. Where he was kind of out there like, you know, make him much more unlikable, but really good at what he does.
Greg: He’s not that likable. He’s not doing plan A or plan B, he’s doing plan C well, yeah. All right, guys, bring in the chaos. If I’m hearing him correctly.
Joe: Yeah, Planned chaos.
Greg: He is putting the wrong tires on his car. Joe, how dare you?
Joe: I know the the thin ones or the soft ones, when they should have been the hard ones bringing chaos. Yeah.
Greg: But Moira says in her review, the dialog in this movie is hilarious. Like, Javier Bardem has to somehow says the line, sometimes when you lose, you win. And he somehow almost says it convincingly.
Joe: Yeah.
Greg: So great actors saying dumb lines. That could be another title for this movie. Yeah. The chemistry with Javier Bardem. Pretty good. So good. In fact, it made me wonder if how the are bardem’s part was offered to George Clooney.
Joe: To totally see that.
Greg: They had a couple scenes where they were really kind of doing some Ocean’s 11 level energy. Here’s them sitting next to each other and having kind of the finishing each other’s sentences, or really kind of short sentences, the way Brad Pitt and George Clooney did in Ocean’s 11. Let’s just do it.
Joe: You’re feeling so good, good good good good. No pressure, no. Great great, great.
Greg: That’s the whole scene. It’s amazing. It also could have been George Clooney. I loved how, they said that Brad Pitt’s old here is Damson Idris talking to his mom, played by Sarah Niles, right here.
Joe: Plus, there’s this new guy and he’s old. All that really old. Like 80.
Greg: I love that he’s just like, I don’t even know how old he is. 61 and 80 are the same age, so I thought that was amazing. I loved it.
Joe:
Greg: I whenever he was doing his plans see like the chaos at first they’re just like should we just assume he’s going to do the opposite of everything he’s supposed to do. Did you ever see that SNL sketch with Bill Hader? It was written by John Mulaney and it’s called What’s That Name? And it’s like self-involved people as the contestants, and they bring out somebody in their life that they’ve met 100 times and they don’t know their name.
Joe: Oh, yes.
Greg: I think it’s one of the best SNL sketches of the last ten years, for sure. But at the end, John Mulaney, who’s one of the contestants, asks Bill Hader, who’s the host? Why are you doing this? Like, what is this whole show? It’s plan C, check this out.
Joe: Hey, Vince. Blake, why do you do this game? What’s it all for? What do you want?
Joe: In a word, chaos. That’s awesome.
Greg: We will put that on our on our web page. I do great bad movies for this episode. It is. I watch it five times a year. It’s one of my very favorite pieces of writing. One of my very favorite moments of SNL. It’s perfect, bill Hader. Perfect everybody.
Joe: In a word, chaos. Yeah.
Greg: That’s what he’s doing on the on the the race court. What do we what do we call this thing? Yeah, the race field.
Joe: The race field. Yeah, I like that. Just make everyone mad.
Greg: Well, Joe, there was also a moment in this movie that was very shooter adjacent. Do you know what I’m talking about?
Joe: No, I, I missed it if I did. Okay, here’s another one. My dad would say slow is smooth.
Greg: Smooth is fast. How can you dislike a movie that immediately just invokes the shooter out of nowhere for no reason, and we never return to it?
Joe: Oh my God, I missed that.
Greg: Would Mark Wahlberg have been a better Sonny Hayes in this movie?
Joe: Yeah, because he would have always been out of breath for no reason, no.
Greg: And he would have been old. Except he totally doesn’t seem old. And, that would have been hilarious. This movie would have been better if it was hilariously bad.
Joe: I would have enjoyed it more if it had been worse. Honestly.
Greg: Let’s talk about Joseph Kosinski for a minute. We talked about him a bit, obviously, in our Top Gun Maverick episode, which is a hilarious episode of this show. Where do you stand on Tron Legacy? I don’t remember.
Joe: I haven’t seen it.
Greg: Okay. Where do you stand on oblivion?
Joe: That’s it’s definitely a great bad movie.
Greg: It’s oblivion. Totally.
Joe: It’s definitely got shades of Edge of Tomorrow. Not in the like, live, die, repeat, but the fact that there are, like many Tom Cruise’s in it. Basically.
Greg: Spoilers for oblivion. Jeez.
Joe: Yeah. Sorry. You all had 13 years to watch about that. So yeah, right now, the timeline, you nailed the timeline.
Greg: It was 2013. That’s incredible. Oblivion is a beautiful movie. Tron legacy, beautiful movie.
Joe: Yeah.
Greg: Both kind of plot wise fall a little short for me.
Joe: I think we can say safely having seen three of his movies, at least they he has a great, like, visual director. Yeah. Story wise. Again, struggle with it. Oblivion is ridiculous. Futuristic sci fi, fun film.
Greg: Didn’t Iceland I think.
Joe: I think so, yeah. But again, he must be tapping into something that I am missing in the pop culture. Like guys, because the last two movies he’s done have been nominated for Best Picture and have done really well, and people love them. And so, yeah, I fully accept that I’m the outlier. I think you on this and on this.
Greg: So it might change for a movie he has coming up. I don’t even know if you’re ready for the next two words I’m about to say to you.
Joe: I cannot wait.
Greg: Those two words are Miami Vice.
Joe: It’s going to be beautiful.
Greg: And be incredible.
Joe: Better not write it. I mean, Miami Vice, those are characters. I don’t know if he could do it.
Greg: It’s written by Dan Gilroy, Eric Warren Singer, and Anthony Jurkovich. Dan Gilroy is all you need to hear. That’s Tony Gilroy, his brother.
Joe: Yeah.
Greg: He wrote a movie called Nightcrawler. Have you ever seen Nightcrawler?
Joe: Don’t know that I did.
Greg: The is really talented. Tony Gilroy, his brother. Okay, but it stars Austin Butler and Michael B Jordan. This movie is going to be incredible.
Joe: So big.
Greg: I’m in. It’s going to be amazing. Yeah, it’s going to be beautiful.
Joe: It’s going to be beautiful. If he follows the script that is given to him, that’s, you know, my advice needs to be dark and dirty and you got to kind of the the main characters have got to be kind of on the edge of bad.
Greg: Dark and dirty. But obviously the pants are white, right?
Joe: Yeah. Oh of course. Yeah, yeah. I’ll check it.
Greg: Yeah. Austin Butler and Michael Jordan, both more charismatic than Brad Pitt in this movie.
Joe: Yeah, easily.
Greg: Oh, man. It’s going to be amazing.
Joe: In this movie. Although again, Brad Pitt can be so charismatic on screen.
Greg: It’s true. I got the sense, you know, he has kind of a an interesting, addiction story where he kind of is looking at mistakes he made in the past and who he wants to be in the future. And I kind of feel like he was tapping in a little bit into that, especially that scene in Vegas when he and Kerry Condon are looking out over the city and having that conversation.
Greg: Not super successfully, but I felt like he was kind of like tapping into that a little bit, which I appreciate it. Okay, well, this is our perfect segue into the Oscars. We don’t need to have a long Oscars conversation, but this is in fact, our Oscars is sweet. So, we just mentioned Michael B Jordan, and Michael B Jordan is in one of the other movies nominated for Best Picture this year.
Greg: Centers which you have seen. I haven’t seen it, so sell me on centers. Should I see centers or not?
Joe: You should absolutely see centers. Okay, okay. Michael B Jordan, if not for his performance in this movie, he plays twins. Okay. In it and he is amazing in it. He is amazing. And everything that I’ve seen him. Yeah, yeah. He just is magnetic on the screen.
Greg: And there’s two of them. It’s in this movie.
Joe: There are two of them and I didn’t realize this, but I had I watched somebody was saying that it’s actually the structure of a musical, which is really interesting. Yeah, that is interesting. And there’s music in it. It’s got great characters. I hope it wins everything it’s nominated for.
Greg: Might it actually makes it.
Joe: Is worth it. It is another beautiful movie. Ryan Coogler just makes beautiful movies greatest. This is no exception. And it’s it’s not. So like if I said, would you watch a vampire musical? I’m out. Yeah. I’m out. Yeah. But I was like, okay, but Michael Jordan’s in it and he plays twins and we’re not going to call it a musical and that it works.
Joe: It’s so good. And they’re, they’re moments in. It’s where just two amazing actors on screen with great writing, and it’s a movie that we’ve I’ve seen a version of a million times. Yes. And it does it well. And I think that that’s the thing that I like about this movie and like, not every movie you’re going to watch is going to be original or crazy or, you know, something you’ve never seen before.
Greg: Like an F1 just. Yeah.
Joe: Yeah, like an F1, honestly. But if you just do it really well.
Greg: Yeah. Which Coogler is going to every time. Yeah I mean he is one of our top three most trusted directors out there right now Danny Villeneuve Ryan Coogler that’s my top two right there.
Joe: Yeah, I think though, that’s the top two right now of like if you tell me that they’re they’re directing something. Yeah. I don’t care what it is I’m going to go watch it. Yeah. Like that to me is the the marker of a great director. It’s like, I don’t care what what the story is. Who’s in it? That director.
Joe: I will watch anything that they do.
Greg: The only other thing that would absolutely get me to a theater is if it’s a movie about a plane and it’s called plane.
Joe: Oh, yeah.
Greg: Obviously I’m going to go to that movie ten times out of ten.
Joe: Every single time. I don’t even.
Greg: Need to hear that Gerard Butler is in.
Joe: It. And no, that’s just a cherry on top. Yeah, that’s what that is.
Greg: Yeah, I’m already there. It’s just a bonus. Yeah Gerry Butts is in it. Yeah, yeah.
Joe: That’s just like, raise your hands in the air and scream from the mountaintops because, the triumvirate has has arrived.
Greg: By the way, now that we’re talking about, you know, best pictures of the year, I do need to mention that I don’t think ship is going to come out anytime soon. I don’t even know if they filmed it.
Joe: Yeah, that’s the disappointing sequel.
Greg: The plane called ship.
Joe: Yeah.
Greg: So, you know, we’re giving you the hard hitting news here.
Joe: Yeah. But to come to the show for.
Greg: Yeah, I mean.
Joe: I would take plane over to F1 every single.
Greg: Day interest.
Joe: 100% of the time.
Greg: We’ll take you up on that. We should watch plane again.
Joe: Okay. I’m driving over Africa with them. Yes.
Greg: I totally if this movie had been called car, would it have been a bit more entertaining for you?
Joe: Yes. Okay. Okay. Our cars and it’s just the the animated movie cars, which is, again, a significantly better movie than F1.
Greg: Wow. Well, Owen Wilson is, you know, anything he puts his job on. Obviously.
Joe: Cars versus F1 cars is a significantly better movie than F1 in terms of what the plot is. The characters. Yeah, yeah.
Greg: That’s a fish out of water story. It’s like lightning McQueen is broken down in a small town. It’s like Doc Hollywood with Michael J. Fox. You remember that movie back in the day?
Joe: Yeah, there’s a.
Greg: Million movies that are fish out of water movies. I don’t know why. That’s the one that came to mind.
Joe: Because obviously you got a Michael J. Five, I think.
Greg: Because his car breaks down in a small town and there’s no options here. He’s stuck there. Well, cars being worked on.
Joe: Yeah. There’s a U-turn by, Oliver Stone with Jennifer Lopez and Sean Penn. Another fish out of water car break down. I take that.
Greg: That’s all of them. As far as I know. That’s all of the fish out of the water movies. Yeah.
Joe: Exactly. Yeah.
Greg: All right, let’s keep going with movies that are nominated for Best Picture that we should talk about. Have you seen one battle after another?
Joe: No, I haven’t, okay, I haven’t seen anything but thinner. So NF1.
Greg: So let’s have the conversation that needed to happen about the Oscars by two people who haven’t seen most of the movies.
Joe: Okay.
Greg: I think it’s between centers and one battle after another. I haven’t seen centers, which I can’t believe I’m saying because I’m the biggest Coogler fan. Yeah, but I did see one battle after another in the theater, and it was unbelievable. Unexpected. Really good. Amazing score from Jonny Greenwood of Radiohead. And just incredible performances all around. And I think it’s between the two of them.
Greg: Should we place a bet? Do you want to bet for centers? And I’ll bet for one battle after another. And sure, winner, gets $5.
Joe: Perfect. Nothing done.
Greg: Winner gets to choose what drinking game you play. Well, we watch playing together.
Joe: Awesome.
Greg: Let’s do that.
Joe: Okay.
Greg: All right. I think it’s the three way race. We got, one battle after another. We’ve got centers, we’ve got F1. There’s no way to know which way this the Oscars is going to go this year.
Joe: Yeah, I’m rooting for centers because I think it’s, you know, one, we need a little diversity in our, our, our films. Although I would not be upset if I would be legitimately upset with the Oscars. If F1 wins Best Picture, I feel like, honestly, any one of the other films would be a better choice up to and including any of the movies we’ve done on this show to this point.
Joe: Quite frankly.
Greg: It’s so funny how much when Joseph Kosinski movies are nominated for Best Picture, it just hurts your feelings.
Joe: It’s just does. It’s just I don’t get it. I, I honestly feel like I’m missing something when I watch them. I have the same kind of feeling I have and it’s a different way. But when I watch Michael Bay movies, that they just there’s something missing from it. Now he does. He’s kind of like on the other side of like if he directed F1, first of all, there’d be like ten more explosions throughout this movie.
Greg: Which we could have used to be honest.
Joe: Honestly, give.
Greg: It a little bit more of a hitman’s bodyguard. Every van blows up energy.
Joe: Yeah. And like the odds stacked against things happening like the good guy is winning would have just felt almost impossible where it just like. And then this happens and then this happened, you know, and there’s a part of me that appreciates that another part of me is like, oh my God, really? This, this is what’s happening. And the and there’s also a soulless quality to his movies that I struggle with.
Joe: Yeah. Which I’m on the edge with F1. But F1 is just like to me it’s like it’s muted.
Greg: Shea Whigham is in this movie for 90s and he is just Shea Whigham being all over the place.
Joe: I was so happy and I was so disappointed he wasn’t in the rest of the movie.
Greg: Totally. I mean, I love the gang that’s in this movie, but I love that he can just fly in and just, like, save the first ten minutes of a movie. When we first meet Brad Pitt in this movie, he’s in, like, his van. LED Zeppelin comes on so suddenly you’re like, oh, boy, if they had some money to make this movie.
Greg: Yeah, he’s wearing two different socks Joe.
Joe: That’s his thing.
Greg: That’s a main character point for him. And then later on in the movie wearing two different socks is like a supposed to be kind of an emotional thing. Like the crew really gets into wearing two different socks and maybe I just I’ve seen this movie three times. One of them was in Imax. You think I noticed some socks?
Greg: I feel like from the minute we see his socks aren’t matching, we have to wait another like two hours until that’s another. That’s a main plot point amongst the crew that he’s, like running around the track with. Yeah. Did I miss something?
Joe: No. This is just why this movie is lame.
Greg: That’s okay. Now you’ve sold me the sock thing. I wasn’t with you until the socks came out.
Joe: Yeah, yeah, I mean, the sock thing is, it substitutes for character development in this movie. I famously cannot wear mismatched socks.
Greg: It’s all over the news every night.
Joe: Yeah. Well done. I literally cannot, like my OCD issues kick in like I can’t. I have to put my left sock on first time, am I right? And they have to be matching. Okay.
Greg: According to this movie, I think you’d be more successful if you were able to do that. Wear mismatched.
Joe: So probably I would be on some other. I would be on the like matching socks team. That’s like if they were if they were doing this right, like the, you know, the Ferrari team that’s like super well capitalized. And they have all kinds of money and they have the fancy uniforms. Yeah. You know, that would be the team.
Joe: And I would, you know, lose in the end. But begrudgingly like have like a salute to Brad Pitt, who would beat me at the end because there was now a respect that had a nod.
Greg: Your Johnny in the Karate Kid, you just sweep sweeping the leg all over the place and you’re just you’re the mad man who has, you know, matching socks.
Joe: Exactly. I’m Jon Hamm and Top Gun Maverick, who’s like, yes, gives him the nod against Maverick. And no.
Greg: Absolutely. Oh, isn’t that have been awesome. If somebody had said to Jon Hamm, put him in a body bag, Jon Hamm yeah, like in, in Karate Kid, the. Yeah. I’ve never understood. Put him in a body bag. Johnny.
Joe: Yeah.
Greg: I’ve never understood that part.
Joe: That’s just that’s just an actor having a moment. Right? Just being.
Greg: The character. That’s how people with matching socks talk. That’s from my experience.
Joe: That actually.
Greg: Brad Pitt in this movie, he dreams in video footage about his accident that happened when he was, like, trying to box in Santa back in the day, and he got in a bad accident. Yeah. Do you dream in video footage.
Joe: Where there’s obviously just.
Greg: Like, scanning lines across the screen, or it’s like old school digital footage?
Joe: Yeah, obviously.
Greg: Let me ask you a question, Joe. This is a very important question. I’m asking you an early, very important question. Why does this movie start with ocean scenes? It’s ocean scenes. No, I and then driving video and then ocean scene and then driving video. And then he wakes up.
Joe: And never again do we have the ocean. No, not even at the end I missed that. That’s a I was thinking, an ode to Barton Fink. I don’t know if you remember that, but.
Greg: That’s probably why it’s a Killer Brothers reference.
Joe: Yeah, yeah, it’s an homage, obviously, to one of the most obscure Coen brothers movies ever made.
Greg: Speaking of Barton Fink, would this movie have been better if Sonny Hayes was played by John Turturro?
Joe: 100%, and wouldn’t have been. And he’s got to swear like, yeah.
Greg: Yeah, what if he’s playing his character from The Big Lebowski, The Jesus?
Joe: Yeah, I’m in.
Greg: Continuing the Barton thing with this movie have been better if it were directed by the Coen Brothers, that’s a no brainer, right? Obviously, no, actually, I don’t know.
Joe: It’s a totally different movie.
Greg: Yeah, I don’t think I like it more. I think I like how kinetic the driving scenes are in this movie.
Joe: There would hardly be any driving scene. And and if they did it, it would just be all just like tense drama scenes, right? And like long shots of, yeah, cars driving maybe through the snow.
Greg: Coen brothers early on, their DP was Barry Sonnenfeld. Barry Sonnenfeld then went on to make like wild, Wild West. He made the Men in Black movies with this movie have been better if it was directed by Barry Sonnenfeld and starring either Tommy Lee Jones or Will Smith.
Joe: Tommy Lee Jones. Yes. I don’t know about Will Smith, but I’ll take Tommy Lee Jones. Absolutely. Okay.
Greg: We gotta get those guys back together like Javier Bardem. Could have been Tommy Lee Jones in this movie.
Joe: Yeah.
Greg: And I think Will Smith could have been Sonny Hayes.
Joe: Yeah, I would have watched it. I would watch that movie.
Greg: I don’t know if it’s better, but I’d watch it.
Joe: Yeah, worse would have been better for me.
Greg: Yes, 100%.
Joe: Friends.
Greg: What if this movie was, an unofficial sequel to next and he’s able to see four minutes into the future of the race?
Joe: Oh my God, I love it and I want it to win Best Picture. If that’s the case, it was.
Greg: It for in next or was it two? Oh my gosh, I have to watch. Next thing it’s two. Oh my gosh.
Joe: It’s two minutes.
Greg: It’s been too long for a sequel.
Joe: It’s it’s for the sequel. Ha. Yeah.
Greg: I love it okay. All right Brad Pitt found half a second in the simulator.
Joe: Have you.
Greg: Ever found half a second?
Joe: I don’t think so.
Greg: I should have asked this before. What tires do you have on right now?
Joe: I think they’re soft, but.
Greg: Yeah, those are going to burn out fast.
Joe: Live fast, die young, leave a good looking corpse has been my whole motto.
Greg: So you’re constantly saying that?
Joe: Yeah. I said stop making people uncomfortable.
Greg: There is so much talk about what tires are on the car at any given moment. It’s amazing. It may be laughed so hard. We’re still talking about tires.
Joe: Yeah.
Greg: All right. Well, Joe, it occurs to me that there’s probably people who haven’t seen this movie that might have no idea what we’re talking about.
Joe: You? Yeah.
Greg: Okay, let’s pretend you’re walking through the Apple TV store and it’s an actual store, and there are 4K ultra high definition Blu rays all over the walls. Oh my gosh, how amazing. With this being. Yeah, if there was a video store in town where you could rent.
Joe:
Greg: 4K Blu rays if that existed, I would totally do it. Oh my gosh.
Joe: So we should just make that store. Yeah. So we need to do it.
Greg: Also sells ice cream and boozy shakes. All right. So you’re walking through our new video store in Seattle that lets you rent 4K ultra high def versions of movies. You’re picking up the new release called F1, and you’re looking at the back of the box to see what this movie is all about, to see if it’s the one you should rent this week.
Greg: That’s right, it’s time for the back of the box.
Joe: It’s the back of the box. Buckle up and strap in. You are in for the ride of your life. F1 takes you inside the sport, taking over the world from the race simulators to the pit crew to the race day, this movie spares no expense to the point that you can almost smell the exhaust during sunny haze. Brad Pitt, as he tries to save his friends F1 team from finishing last.
Joe: The sprint to the end will be filled with crashes, rivalries and bumper to bumper excitement.
Greg: Okay, Joe Skywalker, that is. I do legitimately want to watch this movie again.
Joe: Okay, that was incredible.
Greg: I think you need to start writing back to the box descriptions for movies that you hate, because you’re really good at everything.
Joe: Yeah. Just wait. Speaking of hating it.
Greg: It’s time for us to go on down to Honest Town and get Joe’s guy. Tucker’s real back of the box.
Joe: It’s an embarrassment that this movie has been nominated for an Academy Award. It is corporate garbage. The plot, such as it is, is so formulaic it might as well have been written by I. It has a 2.5 hour ad for f one that is two hours and 29 minutes too long. This movie is a waste of time and money, and I’m embarrassed that I paid money for.
Joe: If you have been unfortunate enough to watch this movie, the good news is that it is so forgettable you won’t remember anything in about five minutes. After the credits roll.
Greg: That’s what all of this was worth it for. The for the real back of the box. That’s incredible. By the way, I’ve seen this three times. Loved it all. Three times.
Joe: I love that you love this movie. I support that 100%.
Greg: I mean, it’s just well made. Great, that movie all over it. That’s all it is. All right, Joe, should we get to the, box office in critical reception of this movie?
Joe: Absolutely. All right, well, let’s start with.
Greg: The box office. This movie costs around $250 million. To make this for as much as $300 million, Apple paid $135 million to acquire the rights. To even have the chance to make it.
Joe: That’s crazy to me that they paid that much just for the rights to this.
Greg: This is an interesting conversation for us to have. But first, let’s talk about how much it made domestically. It made $190 million internationally, $443 million for a worldwide total of $633 million.
Joe: So basically made its money back maybe a little bit more, depending on how much it cost.
Greg: I mean, I’m sure they spent like 100 million in marketing, but I don’t even know that we need to look at this like a regular movie. You know what I mean? Apple made it. They can stream it. Warner Brothers did the actual like distribution. But I mean, this is just a brand marketing.
Joe: Opportunity for Apple, right?
Greg: You don’t need to make money on this to bolster their brand and have people think more positively about Apple. It’s really a marketing play, which is a different kind of thing than we usually discuss on this show. What do think of that as a marketing thing?
Joe: I understand it, I feel similarly to like Amazon Prime Video. They’re not necessarily looking for that to make money. It’s about brand recognition and kind of eyeballs within their platform, almost is what it feels like in some ways of like, yeah, like it used to be. Yeah. Studio releases, a film. You know, however many people go see it makes money, then it goes out on video, people buy it and rent it.
Joe: And like, that’s the economics of a movie. And then with Netflix and streaming has been totally flipped. So as like a tool to keep people and keep eyeballs as a marketing tool, I get it. I don’t understand all of what kind of goes into it. But, you know, I don’t have a problem with it necessarily. I mean, if we’re going to if this is the way this is the new normal, then okay.
Greg: It’s a brand exercise that’s so fascinating to me, because when you think about F1 as a movie, it’s a movie that looks like a gazillion dollars and Brad Pitt is a movie star and pictures of like, Brad Pitt in shape and his race driver, you know. Yeah, I bet there you call that.
Joe: Yeah.
Greg: That is the perfect quintessential picture of who Apple is and who they want to be in the future, especially when you think about how Apple would like to acquire professional sports and their showing. You know, Major League Soccer, they’re showing, Major League Baseball on Friday nights and they’re showing it in a, in a higher resolution in a, in a higher production value.
Greg: There’s some also kind of technology stuff behind it as far as like stats and whatever. That’s a little bit Amazon. But also you know just shows like oh it’s nice to watch baseball on Apple. That makes me want to stay in their ecosystem and buy an iPhone. It makes me I watch this movie on my MacBook. First time was Imax.
Greg: Second time was a big TV. Third time I was on my MacBook Pro and it looked incredible in all three spots. And so it makes me feel an affinity for, oh, things are nice when you’re dealing with Apple. Yeah. Perfect marketing play for them. And it, you know, almost broke even. It didn’t need to.
Joe: Yeah I mean I think from a brand perspective Apple’s about premium I feel like Netflix is in the middle. And I may have this wrong. And like Amazon Prime or the you know, it’s kind of on the lower end to me of quality and like accessibility. But they’re they’re different business models around that. Yeah. As well. All of the streaming services are moving into live sports.
Joe: Some of that is driven by yeah, it’s one of the few captive audiences for advertising dollars these days. The last thing I want to watch is an ad while I’m watching a TV show or movie. The point of a streaming service for me is like, unless I have to, I’m not watching an app. Yeah, I hate and but if you’re watching a live sporting event, I get that they’re going to be ads.
Joe: And so there’s ad revenue and eyeballs on it. It’s a different world than we kind of grew up in of like how these how media is used. Yeah. And so F1, I think of it as like an ad for Apple. Of course it is like it is. Yeah. It’s benign but beautiful and high end.
Greg: We should have a Golden Helicopter award at the end of the year of best streaming service for great bad movies.
Joe: Absolutely.
Greg: It probably isn’t.
Joe: Apple probably isn’t. It’s probably Amazon Prime. That’s right.
Greg: It’s probably yeah. Heads who came out with heads of state with John Cena and they’re just all about oh, that’s Amazon Prime.
Joe: Yeah.
Greg: But who came out with the Green man Joe.
Joe: Yeah. That’s like the greatest movie ever made.
Greg: And listen, if you’re wondering if we’re going to get to the Gray Man, you don’t need to wonder. Not anymore. We are definitely getting of the game.
Joe: You’re playing along at home. Mention of the Gray man. Take a drink. So.
Greg: All right, Joe, let’s get to what critics are saying about this movie. What do you think the critics rating on Rotten Tomatoes is for the movie?
Joe: I tried to avoid it. I happened to see it. Oh, so I know the actual number, I believe. But my guess would have been Mayfield, like a 70. I feel like that’s our brand.
Greg: That’s for like a 70. That’s true.
Joe: I would have gone around a 60.
Greg: Oh, interesting.
Joe: Yeah. But knowing that it was nominated for an Academy Award, I would have known that that was low. I think it’s around an 80 or 95, something like that.
Greg: It’s 82%. And a lot of reviews, 166 reviews on Rotten Tomatoes. That’s that’s high for us. All right. So what do you think the audience score is on Rotten Tomatoes? Did did you see this number as.
Joe: We did not see this.
Greg: Number okay. What’s the popcorn meter on Rotten Tomatoes?
Joe: I feel like I’m the outlier. So I feel like it’s going to be like an 85 to 90. I’ll go 85, 97% oh oh.
Greg: People love this.
Joe: I need the 3%. I need to find my before.
Greg: We can call my people the 97. That’s five.
Joe: Perfect.
Greg: All right. Well, let’s get into what the critics said. As you said, we were going to have our friend Moira MacDonald on the show to talk about this film and to talk about the Oscars. And we were heavily relying on Moira’s expertise to talk about the Oscars. Let’s talk about what she said. She starts her review with.
Greg: It is a truth universally acknowledged that every summer movie season must feature a film about a mode of transportation that goes very, very fast.
Joe: Awesome.
Greg: This summer it’s F1, the movie presumably subtitled so we know it’s not F1, the signature cocktail or something. Parentheses. Now that is a good idea. Someone please make me one.
Joe: I’ll make an F1 to go, please. Absolutely.
Greg: That’s how you know she’s the greatest guest of all time on this show. It’s breathless and occasionally breathtaking, if a bit overlong. But as mindless summer movie action goes, F1 gets the job done nicely.
Joe: Apparently I’ll allow it, but.
Greg: All right, let’s talk about what some of the other critics said. Oh, that was written in the Seattle Times. We should have said that. Mara MacDonald, main reviewer of the Seattle Times, I don’t know, is she the main reviewer? I will say yes. Sure.
Joe: Yeah.
Greg: All right. Wendy IDE of The Observer UK says the cars may be the stars, but the camera team, led by Top Gun Maverick cinematographer Claudio Miranda, are the wizards who keep the wheels turning.
Joe: I agree with that.
Greg: Sophie Butcher of Empire magazine says Joseph Kosinski has done it again. F1 combines unparalleled access, pioneering filmmaking and moving redemption arcs to deliver an exhilarating cinematic experience. What will he attach a camera to next? Four out of five stars.
Joe: I disagree with everything that person’s.
Greg: Justin Chang, who is now writing for The New Yorker, interestingly enough, says again and again F1 finds fresh pathways into familiar material. It keeps its surface level moves unpredictable, even though its overarching trajectory isn’t.
Joe: That’s a generous.
Greg: Half baked review. It’s kind of like saying, gets there in interesting ways, but yeah, ends up someplace predictable. Okay, Joe, I think we need to have an award title for each episode. The award has to go to the person who comes up with the new name for our podcast.
Joe: Awesome.
Greg: The best new name for our podcast. What should we call this award?
Joe: I’m struggling to not just say something like generic, like the renamed award or the.
Greg: The new name for a podcast award.
Joe: Let’s go for that. Okay. The new name for our podcast. Go with that. Nailed it.
Greg: All right. Well, the new name for our podcast award goes to a new Padma Chopra from The Hollywood Reporter, who gave this review big, noisy, obvious and hugely entertaining.
Joe: Perfect. Done. And yeah, they win.
Greg: That is a great name for our podcast. Yeah, I think you’re going to like where this last one goes. Amy Nicholson in the Los Angeles Times says the pleasures of F1 are engineered to bypass the brain. It’s muscular and thrilling and zippy, even though at over 2.5 hours long, it has a toy dump, trucks worth of plot.
Joe: It’s agreed we dump truck worth of, but also Framingham.
Greg: In the running for the new.
Joe: Name for.
Greg: So award Amy Nicholson. So I think that’s a pretty good review of this movie. Yeah, it does kind of bypass the brain the way that a great bad movie shouldn’t. All right, Joe, should we get to drinking games?
Joe: Absolutely. All right. We’ll start with our stock drinking games again. You know, I had to be drinking alcohol to be a mocktail. Juice. Water. Coffee? Milk. Oh, no. That’s weird. In this day and age, I could.
Greg: Be using expensify.com. You can just be doing your expenses.
Joe: Exactly. So, starting with Silent Helicopter, I did not see any helicopters in this movie. No. Disappointing.
Greg: We’re flying over the F1 race races quite a bit, but I bet it’s a drone probably. Now look, after.
Joe: Pushing and enhance, I gave this one. There’s a lot of race day on the track and then I even and then in the simulator and there’s some so there’s kind of push it in hand test stuff that happened in that. Two people sharing a slow motion look in the middle of chaos. There’s a couple in in the races that happens, especially early on.
Greg: In the middle of plan C is what that was called.
Joe: Explosions. I was laughing, ringing. There isn’t really an explosion, but in there somewhere he when he dips into the ice bath and then also when a couple of the crashes, it kind of goes silent. So I gave that to us.
Greg: Absolutely silent suffering when there’s the big crash. Yeah. By the way, great big crash. Right. That’s pretty good.
Joe: Yeah. Yeah it was fun there. Again the the action scenes are race scenes are amazing.
Greg: Do you know how they did that by the way? They had remote control life sized cars.
Joe: That’s awesome. Opening title scene with the title lost in place is out. Not given this one to you, even though the there’s no sound.
Greg: Wow, that’s a first. It is.
Joe: A first. So if you’re playing along at home playing the drinking game of Will I. No, not this time. No, no.
Greg: Joe has to like the movie. Yeah. For you to take a drink. Exactly.
Joe: So the title, does it flashback to dialog two minutes ago. Oh, it’s nice. The back. So much to his crash in the camel car when he first, you know, is in the F1. And, so, yeah, lots of flashbacks that you’re drinking too.
Greg: I like that scene, by the way. They never actually show the crash.
Joe: Yeah, I like that too.
Greg: Yeah. And he’s just kind of laying there limp in the middle of the track. Yeah.
Joe: Yeah, that.
Greg: Really hit me, by the way. That’s good filmmaking right. There doesn’t need to be more.
Joe: Yeah.
Greg: Very unsettling.
Joe: Bad CGI. I didn’t I think this movie amazing.
Greg: Those logos on the cars that they replaced. Yeah. Second and then.
Joe: I didn’t even really notice the CGI. And usually I can on my, on my TV. I’m sure that there were moments, but it’s a beautiful film and they don’t really they don’t rely on it. And when they use it, it’s it’s well done. So yeah, no great bad shots. Does that. We’re not it’s not a typical action movie where where there are people shooting all over the place.
Joe: Missed opportunity Joe, did.
Greg: This movie need guns?
Joe: Probably. I mean, they should have been.
Greg: Does anyone need a sniper.
Joe: From.
Greg: Keep things interesting.
Joe: Marky Mark? It’s not for all of us.
Greg: Oh, absolutely.
Joe: Yeah. Yes.
Greg: Yes it does though. It’s smooth. Smooth as fast. Yes. Yeah.
Joe: Are the streets inexplicably wet? There’s some race scenes where there’s. There are explicable wet because it’s raining, but there are a couple of shots. Yeah, but, especially when they’re showing, I think at the end I don’t remember exactly what city they’re in, but there’s a there’s a shot.
Greg: Oh, Vegas. Was it. Maybe it was.
Joe: Vegas. Yeah. Yeah. Okay. I love that Vegas has now become the inexplicably wet street city. Even I was in the middle of the desert, and it doesn’t rain there, but that’s all right. Yeah. And then I have a give us the room. It wasn’t a classic. Give us the room. But I did market until I remember the scene.
Joe: I don’t I don’t remember off the top of my head. I need to make better notes when I’m watching it. But there was I did have that one. And then there’s no Interpol or cell phones.
Greg: Match them with this movie. Have been better if someone had asked, give us the room 14 times in this movie 100%.
Joe: Okay.
Greg: 13 though.
Joe: Yeah, 14.
Greg: That’s the unlucky number of. Give us the room. You got to go 14.
Joe: 100%. Yeah. Because then you’re just showing off. If you go 13 to 14 that’s. Yeah that’s six. The landing for me.
Greg: Yeah I like to think this whole movie takes place within Interpol. This is all within the jurisdiction of Interpol.
Joe: Okay, okay.
Greg: Everyone in the stands works for now in this movie.
Joe: Perfect.
Greg: And you can’t see them because, you know, we’re seeing them from the sky, but they are all smashing. Cell phone with their feet. Perfect.
Joe: Yeah. All right. What is your first drinking game?
Greg: There’s a lot of people rolling their eyes in this movie, which made me laugh. And I feel like a good drinking game would be. Anytime somebody rolls, they’re awesome.
Joe: I love that I have anytime the pit crew reacts to something that’s happening in the race, I could drink.
Greg: Sure. What about, you know, they had that kind of special camera on the cars. They could kind of flip 80, 180 degrees.
Joe:
Greg: Anytime the camera swings 180 degrees.
Joe: Awesome. That’s a great one. I have three separate product placement ones okay. So first one is cigaret company product placement. Take a drink.
Greg: Wait is that in there. What’s the great company.
Joe: Camel and Marlboro. When they are doing the flashbacks to when he crashes in his early F1 days? Yeah. So. Okay. Yeah. So take a drink.
Greg: We used to be a proper country with tobacco ads.
Joe: Exactly. Everywhere.
Greg: Every time a tire temperature is mentioned.
Joe: I love that one. That is so good. I have a just like a tire general one. Anytime they mention tires, but tire temperature. Okay. Any time there is product placement on a car, take a drink.
Greg: That could pass as murder in court. What you just said.
Joe: That’s wait too. My next one. Because if that one is like manslaughter, this one is premeditated murder.
Greg: This entire project of great bad movies just took a turn for the worst. It just got litigious. Okay? Every time someone crashes.
Joe: Okay, I thought awesome. I have any time. There is product placement. Not on the car. Take a drink.
Greg: Not in a car. Okay. Yeah.
Joe: It’s honestly in every scene, though. And. Oh, there’s the helmets, which it’s crazy. Yeah. So you’re basically. Yeah. Drink water for that one or have water handy because you’re going to end up in the hospital if you’re not careful or murdered.
Greg: So don’t take a drink when the title shows in the movie. Yeah, but do take a drink when any other corporate sponsors in this game.
Joe: Okay? Okay.
Greg: Take a drink. Every time Brad Pitt puts a card in his pocket.
Joe: I have anytime he is playing with cards.
Greg: So yeah, that’s good.
Joe: Like he’s throwing them, but he does stick them and never explained.
Greg: Every time Brad Pitt is jogging, take a.
Joe: Drink. That’s such a good one. Anytime you see Brad Pitt’s tattoos, especially his back tattoos, highlighting his scar, take a drink. Yeah.
Greg: And that’s like an outward scar. Really just kind of representing his inward scars.
Joe: Exactly. Yeah.
Greg: That’s what makes me me great every time. Somebody else. Box, box, box.
Joe: Take a drink and hold up.
Greg: It’s my last one. So every time I send him as he says, box, box, box. Take three drinks.
Joe: Perfect. I have a few more. Any time you hear the race track commentary that everyone can hear but is designed to explain the race, but also is it, PA announcer or is that the TV copy? We don’t know. Take a drink every time Brad Pitt either dips his face in ice or takes an ice bath. Take a drink.
Greg: Really good. That’s all it.
Joe: And this is a PG 13 movie and they use the F. I don’t know, maybe you know the rules about that. I thought they could use one f bomb.
Greg: You get two now okay.
Joe: So they have two times that they say.
Greg: Yeah.
Joe: The F word. And then they have two times that people are flipped off. And this movie. Oh interesting. So any time the f bomb makes an appearance take a drink. And this PG 13 movies.
Greg: Verbally or visually, verbally.
Joe: Or visually. So there’s one where they flip off and then like they you can’t hear the sound because like, the crowd is like, oh yeah, that was clever.
Greg: Like that.
Joe: One. I yeah, I know that because I like PG 13, you know, you’re like, I’m waiting for are they going to use it the one time? Because that was kind of the rule forever. But now that there are two so there are two times that you hear it, two times you don’t. And one time it’s texted to the bad owner of the team, you know, and at the end, I don’t know, okay.
Joe: But yeah, those are drinking games.
Greg: All right, Joe, it’s time for us to cut to the chase. It’s time for Joe’s Trope Lightning Round, aka signs. You might be watching a great bad movie.
Joe: Not as many as you might think, because basically all of our tropes are geared towards action movies. But the name of the movie is that my character F1, they mentioned F1 multiple times. Sure, he’s the best at something. He’s kind of a reluctant hero coming out of retirement. And we have an odd couple, with him and Damson Idris.
Joe: And then the last one is medical care. He’s constantly in the ice baths, like taking care of his back. It plays a little bit of a role in the plot, but not enough of one to actually make anyone do anything different to save his life. But him taking ice baths are his way of of stapling himself up or being in a vet’s office for for.
Greg: They should have had a vet’s office, right? Absolutely. Take care of himself, you know.
Joe: Yeah. And maybe if they could have him, if he could have mentioned some injury that misses, an important artery, that there’s no way that he could have known. That would have been the cherry on top for me.
Greg: I wish he had come in after a race and someone would have been freaked out. He’s like, it’s okay. It’s not my blood.
Greg: It’s been. This would have been a much better movie. All right, Joe, I’ve had it. Let’s get to the important questions.
Joe: Let’s do it in 2025.
Greg: Did F1 hold up that to me?
Joe: No, not even close.
Greg: Okay okay I am a hard yes.
Joe: Yeah.
Greg: After seeing this in the Imax theater, I got borderline teary when he was in the flow state at the end and they finally they for the first time, they cut to the camera in front of the car. Yeah, amazing that they saved that shot until then. All right, Joe, even more important question. Does it hold up now?
Joe: No, not even close I don’t I don’t I’m with the three. I’m with the 3% I’m the 3%, 3%.
Greg: But hey this is the first time you have seen it, right? Yeah.
Joe: First and only I will say.
Greg: The first and only. Yeah. What if you come over to watch playing and my Apple TV is broken and we have to watch F1?
Joe: I’ll allow it, but only because watching a movie with you is fine and I will be okay. So at all.
Greg: You can choose your drinking game, which is probably the logo’s one. Yeah man, I’m assuming you be smoking the whole time. Absolutely. Yeah, I will take up smoking if I have to watch F1.
Joe: Exactly.
Greg: All right, Joe, how are they still the good guy?
Joe: There’s the moment in. It’s where they do kind of the classic talking about the good guy, about how good he was back way back when. So they do.
Greg: A little bit a little bit.
Joe: Yeah, a little bit.
Greg: I had this other bad guy.
Joe: Who is the bad guy in this.
Greg: It’s like the guy on the board. Yeah. Evil board member.
Joe: Yeah.
Greg: From Game of Thrones.
Joe: So it’s. Yeah.
Greg: Mid net. Yeah.
Joe: It’s a good thing.
Greg: They actually don’t really sell him as a bad guy though. Yeah. He’s just kind of a bad guy and we don’t even know he’s a bad guy. No. By the way, we meet him like 36 minutes into the movie.
Joe: Yeah, that’s one movie.
Greg: All right, Joe, very important question. Why is there romance in this movie?
Joe: I’m not sure why there’s anything in this movie.
Greg: So did you like the scenes with Carrie Kahn in more than other scenes?
Joe: Yeah, I liked her.
Greg: She’s amazing.
Joe: I wanted more of her. What she’s doing in the lab and with the computer, like, really? Like, you know, they’re all trying to get advantages in the race. You know, he’s like, we got to build a car for combat. And so she makes it. What does that mean exactly. Like so like other plans. Yeah. But whatever that reviewer was like everything is surface level.
Joe: So they don’t give us enough. Like there are moments where you. I would have loved to have understood, like what she’s trying to accomplish with the car. I understand that it probably would have been they would have needed to dumb it down, but they didn’t even. They just said, we’re building it for combat just as I did it.
Joe: And that’s kind of like the end of we’re good. Yeah. We’re good.
Greg: I do think that whenever she was in a scene with Brad Pitt, the movie was better.
Joe: Agreed. Yeah. They have good chemistry together.
Greg: Yeah. I think she has joined my list of. I would hope that she’s in every movie that I see. I thought she was incredible.
Joe: Yeah.
Greg: All right, Joe, are we bad people for loving this movie?
Joe: Well, I don’t love this.
Greg: You didn’t limit. Am I a bad person for loving this movie?
Joe: Probably. Sorry, Greg. You’re a bad person for loving this movie.
Greg: I don’t think the 97% would consider themselves.
Joe: Yeah, I don’t know.
Greg: I’m for loving this movie.
Joe: This is not a of the movies they watch with the values that it espouses. It’s not the worst movie by any stretch. So I think, yeah, I think you’re in the clear on this one.
Greg: I think I’m a solid no on this one. I don’t feel like a bad person for this movie.
Joe: Okay, good.
Greg: That’s a first, I think.
Joe: Yeah. On this show.
Greg: Joe, very important question. Does F1 deserve a sequel?
Joe: Oh my god, no, it doesn’t deserve a sequel at all in my opinion.
Greg: Can I read you a quote from Jerry Bruckheimer recently?
Joe: Yes, we’re.
Greg: Working on the story for a sequel. It’s really good.
Joe: Sure is. Sure it is.
Greg: Very great quote. It’s a great quote. I don’t think this movie deserves a sequel. Does it deserve a prequel?
Joe: Deserved. No. What I watch, what I mean, I’ll watch the sequel. You will from. I would probably watch it mainly to like, hate it while I’m watching it or to see if they fixed anything. Yeah, yeah. And because I hated this movie so much, I don’t really care what they do with the prequel. So sure, if they make 1.5, I don’t know.
Joe: That’s not F2, I don’t know, I don’t know what the sequel or the prequel is. Or you know, they could go back and do Brad Pitt and Javier Bardem character’s origin story. Yep. I would be the prequel, but I could see them doing.
Greg: I’m a no on either of these. I’m very uncomfortable. I think they got away with murder on this one, and I’m very hesitant for them to dip their toes back in this water. It’s not going to do as well. Yeah, so I don’t think they should, which is rare. I usually feel like they should, but, I, I’m hesitant about this one.
Greg: All right, Joe, very important question.
Joe: Waiting for this one.
Greg: Should F1 have been nominated for Best picture at the Oscars? No.
Joe: A thousand times. No.
Greg: You should probably hear the nominees first.
Joe: Okay. Yeah, let’s hear them. Yes.
Greg: We’ve got Begonia.
Joe: Okay.
Greg: Where do you stand on Emma Stone and what’s his name? The guy we love Yorgos.
Joe: And yeah, I mean.
Greg: Jesse Plemons.
Joe: Jesse. I’m. Yes, that’s probably yes. Should be nominated.
Greg: Frankenstein. Yeah.
Joe: But over this. I’ll take it.
Greg: I haven’t seen Hamnet.
Joe: Yeah, I haven’t seen I can’t.
Greg: Take sad kid movies, so I’m not going to watch him in it. Mighty Supreme. Oh, watch my name Supreme.
Joe: Yeah, I watch it.
Greg: One battle after another. The secret agent. Sentimental value centers and train dreams. I love that one of our movies. One of my movies. Hold on. I don’t want to include you in this. Yeah, you’re invited to this party. I love that one of my movies is in. Is nominated for best picture this year. Yeah. So I’m a yes.
Greg: You’re a no.
Joe: Yeah. As long as Sienna’s wins, I’m good with everything, though.
Greg: Oh, okay. You should see one battle after another. I think you like it. All right, Joe, you have been talking a lot about how broken this movie is. So let me ask you this. How could this movie be fixed? AKA who should be in the remake?
Joe: My answer to this is though watch Days of Thunder. That is a better race car movie than this. Or cars either one. Yeah, we don’t even need to try to remake it. Just watch Days of Thunder.
Greg: All right, let’s let’s some other movies. Talladega Nights. Would you put that in there over this movie?
Joe: Probably other that, that movie’s a little too silly for me. Okay. And like, it’s it’s not a racing movie.
Greg: What about a Renny Harlin movie called driven with Sylvester Stallone?
Joe: I will take driven any day of the week over this movie.
Joe: That is.
Greg: The quote of this.
Joe: Episode. And Eddie, you had me. Renny. Harlin. Yep. What about you? How do you make this movie better? Or should it be?
Greg: You know what my only note is? I think the socks thing needs to be better set up early on.
Joe: Yeah. All right, all I want.
Greg: I also think that this movie makes me want to watch Moneyball, which means this movie isn’t as good as Moneyball. But any time they’re racing, it is just pure Bruckheimer. The music is pretty unrelenting. I think it’s on Zimmer.
Joe: It’s movie. Yeah.
Greg: And, it’s it’s nostalgic. It’s very propulsive. So that’s really my only note. But I would remake it. Let me be clear, I do think they should remake it. All right. And here’s how I would do it okay okay. Ex racer Jake Gyllenhaal.
Joe:
Greg: It’s like running a bar one day who walks into the bar. The owner of a failing team. And that owner is Cate Blanchett.
Joe: Oh okay. I’m and I’m interested.
Greg: Walks into the bar, says hi, asks him they go way back. Will he drive for her team to help out this this cocky rookie? He says yes. Cut to the opening title of the movie Roadhouse to I’m up.
Joe: I’m 100% and I agree to my this every single day. How much money do you need?
Greg: $400 million.
Joe: Dun dun dun dun.
Greg: Yeah. Okay. Do you know who, Paul Mescal is? He plays the rookie in this. He was in Gladiator two. I think he’s the rookie.
Joe: Okay, perfect.
Greg: All right, Joe, we can finally get on the same page again about answering some important questions, because this one does not mean you had to like it.
Joe: Yeah.
Greg: What album is this movie?
Joe: We’ll see.
Joe: I had to think of a band that I considered a total sellout corporate shill band. Sure. I went with Velvet Revolver first album, contraband. Wow. That’s just like a supergroup. Moneygram to me. Scott Weiland, slash, Duff McKagan. I feel like there’s a few other folks in there. Yeah, I felt like a a rock band created in the lab in the early 2000 to make money, not to make art, and that’s what this movie was to me.
Greg: So that’s shiny leather pants and no shirt is what that band could have been called. Exactly.
Joe: Yeah, yeah.
Greg: I find that band offputting and I never listen to them.
Joe: Yeah.
Greg: Me too. Well, I went a different way, although kind of a similar financial scenario. I wanted to find a record that was a very expensive record, but added up to something great. So I think this is an album that costs 1 to $2 million in 2013. And just for reference, around then a record would cost like $20,000 to $200,000.
Greg: So 1 to 2 million was ridiculous. But this record was recorded on tape, is recorded with old analog equipment microphones. It was recorded in the best studios on the planet and it’s random access Memories by Daft Punk. And they’re, you know, famously like an electronic band that did not make an electronic record. They used real players and they might have used keyboards, but they were real performances recorded to tape.
Greg: And just like how F1 was one of the biggest movies of the year made a gazillion dollars, that record was also a super successful record. It was one of the best selling albums of 2013, so they.
Joe: Sold a lot.
Greg: 3 million copies in 2013, which just wasn’t a thing that was happening.
Joe:
Greg: It won the Grammy for album of the year. It had a massive hit with Pharrell and Get Lucky, a very expensive sounding album, and, was very successful. So I think F1 is random access memories by that.
Joe: Interesting. I heard an interview with someone who worked on that album or worked with Daft Punk. They were a bass player and they recorded different bass lines at different beats per minute. Yeah, they weren’t even necessarily going to use them on the album. They were just banking them as though they were basically creating their own catalog to create the different samples on different songs.
Joe: Yeah, when they take like just a real small snippet of something and flip it around and stretch it out. It’s it’s wild to me. And I have a definite new appreciation for, like, the production that goes into those sorts of songs.
Greg: It sounds like they put their thing down, flip it in, reverse it. They kind of pull in. Missy Elliott.
Joe: I think. So I think that that would be the best way to put it. Yeah. Yeah, absolutely. That’s awesome.
Greg: That’s really cool. All right, Joe, it’s come down to this. It’s time for us to rate this movie. Actually I’m really looking forward to this. We have our scale. Great bad movie. Good bad movie. Okay. Bad movie, bad, bad movie, awful bad movie. How do you rank this movie? Joe?
Joe: This may be my first. This is a bad, bad movie to me, so I really dislike this movie. It’s not awful. It’s not even okay. It is a bad, bad movie.
Greg: So I’m right there with you.
Joe: Yeah. Oh, wait.
Greg: Looking at my notes here. Nope. I have great bad movie.
Joe: Okay, that’s a.
Greg: All right, well, Joe, we did it.
Joe: We did it. Yeah.
Greg: Oscars. So 2026, in the books.
Joe: That’s, That’s right. You had nine months to, to watch F1. This is the definitive conversation. I mean this is the conversation that needed to be had. I don’t feel like anyone to talk about this movie ever again. Honestly.
Greg: That’s coming from the heart right there.
Joe: Yes. Back there we’re thinking about talking about this movie. Stop it. It’s not worth it.
Greg: I feel like, as always, we should say spoilers for the movie. Yeah. Sorry. Spoilers for F1 in the movie, which is the actual title of this movie.
Joe: And if you, disagree with me or Greg, find us on Instagram a great bad movie show.com. Then there’s a message or reach out to us on our website about movies. Com or email us at Great Bad Movie Show at gmail.com. We love to hear from our dear listeners, especially on the divisive movie that is, in my opinion, awful.
Joe: And then Greg’s opinion, great or bad, it’s not awful in my mind. Is it bad in my mind? Sure. I hold with my right.
Greg: Important clarification there.
Joe: Yes.
Greg: Yeah. Let us know. Are you in the 3%? Are you in the 90%? 97%? I’m.
Joe: I’m very curious if I’m wrong. I mean, I’m happy to sit on F1 colon. The movie is awful about Island all by myself, but there are other people out there that agree with me.
Greg: I think you’re sitting on the the island called F1 column the signature cocktail.
Greg: What’s in that cocktail?
Joe: Disappointment. Disappointment?
Greg: It’s probably tequila, right? Is it like mezcal? It’s kind of in that category.
Joe: It’s it’s got to be I. I’m not a tequila person. So it’s definitely I would be disappointed. I mean like, All right, I’m drinking it, don’t get me wrong. But not happy about it. So how to.
Greg: Keep steering into 3% I know takes here.
Joe: What’s probably going to happen as I will. I will find this movie in like five years and watch and be like, no, actually it’s pretty good.
Greg: Citizens should have won that year.
Joe: Yeah, exactly. So.
Greg: Well, Joe. Oh my gosh, I am just noticing the time. Listen, this has been great. I don’t want to take anything away from this conversation we just had. It’s been really good. I’m starting with the positive here. Yeah, yeah, here comes the. But but I just noticed that my socks match right now, so I better go fix that so I can go be a winner.
Joe: Yeah yeah yeah. About that track. So anyway, I got to go talk to Shea Whigham. Yeah, he’s my pit chief, and he’s always got my back no matter what happened. So absolutely I, you know I’m in the tank for him. So I appreciate that he’s got my back.
Greg: Turns out you do want that watch that you won. Yeah.
Joe: Yeah okay.
Greg: Well, that makes sense for me. You know, I’m I just noticed that I actually have my hard tires on right now. And my track, the traction is a little rough here, so I’m going to go switch to soft, so I better go.
Joe: Yeah yeah yeah that that tracks I have also got to change my tires to the to the medium tires and then to the hard tires. And then for chaos reasons I’m switching to the soft tires.
Greg: Clancy. Yeah I love it.
Joe: Yeah. Fancy all the way.
Greg: That works for me because I have just realized that I was entirely wrong. And these soft tires are going to wear out too fast. They’re also a little hot. So I’m going to go switch to my hard tires. So I got to go oh yeah.
Joe: Yeah okay. Yeah yeah. That’s right. I’ve got to go take an ice bath to wake up for my nap so that I can go win a race.
Greg: So, you know, with your AirPods Max is on.
Joe: Yeah, with my AirPods Max on.
Greg: Yeah, that have stickers on them so that, you know that, he can wear them anywhere. Yeah. Brand placement. Okay. Well, that works for me. You know what I’ve been doing?
Joe: Plan A and.
Greg: Plan B this whole time, and it’s probably time for me to do plan C, and what could be more chaotic than me abruptly leaving this episode right now? Bye.
Joe: Okay, goodbye. Nice. Nice talking to you. But listen, I’ve got to go. I hated this movie so much, I can’t give it any more attention. So.
Greg: All right, well, that works for me, so I’ll see you soon.
Joe: All right. See you soon.