“F1” is a well -performed entertainment engine

In the movie “F1”, a piece of popular engineering, Brad Pitt play the role of Sony Hayes, who loves fast cars, beautiful women, and simple living. He is a professional gambler and a fast -ranked devil for rental, and he lives in a car overcame it from one racket to another. He applies himself in a car in the Dayton International Speedway, and he only applies the correct proportions of speed, horses, and internal knowledge of the hint in a great race profession. About thirty years ago, Sonny was a bullish star Formula 1- where many fun and imprisonment videos were from a younger house, with sparkling golden mullet-until his dreams were broken due to an accident close to the dead, during an attempt to overcome the Ayrton Senna. The protest of a legend and a martyr of sports – Sina died in 1994, after her crash in the Saint Marino Grand race – aimed at providing a tremor of gravity. Under the function of the slow paint in the imagination of this movie, we are expected to think, carrying a harsh and reality motor. For some, it may also raise the memories of the documentary “Senna” (2011), which is one of the best racing films. “F1”, directed by Joseph Kosinski, with a scenario by Ehren Kruger, aspires to the same pantion.

Do you get there? “F1” is very interesting and amazing, but I will leave the question about future generations and the mobile devices committed to the audience. A few trees that are still proud of “Grand Prix” (1966) and “Le Mans” (1971) will be attracted; Others will call for such classics of lead testosterone, such as “Thunder Days” (1990) and “Rush” (2013). Like the last two films, “F1” is an epic of male aggression. Based on the urgency of an old friend and former competitor, Robin (Javier Bardem), Sony relucts reluctantly to return to Formula 1 and lead to APXGP, a team that is beaten that he cannot hold against the likes of Ferrari and Mercedes. Sonny goes on the path with a cold-full cold-signed, Laconic, which is to bear a series of press conferences in which journalists are rushing to naming it. He is not a big player in the team, and he was not his younger teammate, Joshua Pierce (Damson Idris), a chase chase, refuses to play the postponed Hamid for the Sony old age.

The weakened epic and urination competitions across generations are not new. There are no interests of female love that prevent the transformation, even if Kate (Kate Kerry Condon, from “The Banshees of Inisherin”) is the coach of APXGP, and thus the contestants’ devices are known better than they do. Over and over again, “F1” finds new paths in familiar materials; It maintains its movements at the level of the surface that cannot be predicted, although its comprehensive path is not. In almost every race – Silverstone sites include, UK; Monza, Italy; Francorchaamps, Belgium; Las Vu Dhabi – Monny managed to reap the rules of the game, to irritate the concept and the rest of the team. The secret of success, insists, lies in softness, spontaneity, and unconventional thinking that it approaches the contradiction: setbacks are the advantages, the penalties resulting from opportunities, and a terrifying accident can be shattered. “Slow is soft and fast, fast,” Sony says to mechanics, and applies the logic of the turtle and legs to the speed of the movie, which is at the same time patient and wind. Editing, written by Stephen Mirun, has excessive elegance. The faster the pieces, the more persuaded the work. The images, which Claudio Miranda, called between the delightful eagle looks and intense cabinets to the point that all you can see is sometimes the grip of the driver that tightens the wheel.

Koosinski distributed it to the science fiction complement “TON: Legacy” (2010), and some of the unilateral world building in this movie, constantly, on the white APXGP aesthetic on the white apple store. The most prominent credit of the director is “Top Gun: MAVERICK” (2022), which did so for Tom Cruise, what “F1” seeks to do for Pitt: Grand Hollywood Group, which plays high risks and guidance, which will confirm Mojo, but also from the benefit, from the aging star. Despite all of this, when the movie slows down to allow Sony a moment of functional meditation in which the procedures are declining, making you suddenly run out of patience to return to the path. Sony was not more expressive than he was behind the steering wheel, and this is not a time to stop a house.

There are two views of the car in “Sorry, Habibi”, which does not include shattered tires or burning vehicles, although both are photographed with unbearable tension. At the first of them, Agnes (Eva Victor), a graduate student at New England University, leads to the home in shock; There has been a terrible thing, and what we see behind the windshield is a silent screaming of lack of understanding and disbelief. In the second, it was appointed after about three years, Agnes, who was newly operated, suffers from a full panic attack behind the steering wheel-one that does not calm down until after it is withdrawn, with the timing of the screenwriter, in front of the strange sandwich store.

The accuracy is not a bad thing (and it is not clear that the sandwiches). “Sorry, darling”, which represents the Victor’s Début feature as a writer and director, she is accurately revealed and never feels living. It consists of five chapters, which were extracted through a five -year period of the life of Ashnis, and presented from the time arrangement. In the first and not early first semester-it is mainly in the fourth year-it is now visited, and she is a full-time English professor at the same university, by her former classmate in the room and her colleague in the chapter, Lady (Naomi Aki, Suprb), who lives in New York. They have been close friends, and their links, intimate and loyal, become the key to the entire image. (“Sorry, the child” is obligated to feminine friendship such as “F1” by male competition.)

Almost immediately, Agnes and Lady slides into waves of bao joking, although despite a delightful automatic, it carries a faded concern – as if the two were keen to confirm an atmosphere of sexual natural life. You can already guess the reason for this, but it becomes categorically clear in the next chapter, which brings us back to the first year. Agnes, a student again, receives notes on her thesis from her advisor, Preston (Lewis cancellation), whose work is unusual. In fact, the brilliance of Agnes is already the things of the legend of the campus, but its evaluation is driven by more than purely academic considerations. Their last session is not in a semester or office, but in Breston’s arrangement at the last minute, at his home. The terrible thing occurs, and Victor photograph it from outside the building, in three fixed shots. The dark sky quickly tells everyone.

If the “sorry, the child” has its own thesis, it is liquid, liberated and unlimited: simply, you must follow its example, pain and recovery. The Victor’s scenario, who won a prize at the Sandans Film Festival for this year, has the quality of self -thinking that is not contributed by: Agnes, which the academy tells in short stories, fascinated by narration and unconventional conspiracy structures. The extremist perception of the attack on AGNes is just a single respect in which the film avoids the usual strategies of shock. The gentle confusion of multiple time frames is another thing, and it reminds us that the emotional reform path is neither complete nor completely written. It is worth noting that the suffering of Ashnis does not give her a desire to take revenge or send her mobilization. Its decision is to take a job in the English Language Department – with Jeremia Bra’s Preston, who leaves the school of his will and does not suffer from any legal or professional consequences – does not decide as a preliminary refusal calmly to allow her with the worst concerns of her greatest joys. Also, the experience of Ashnis does not approach it, as it may suggest a lower movie of sexual appetite, thanks to a small part of its exciting neighbor (Lucas Hedges).

The most destabilized element in the film is its humor. Victor has a wallpaper in Comby Comedy, and it came to fame, partly, through video procedures that have become viral on social media: here in Victor is distorted in an embarrassing blind history, or wanders in the contents of the hardware store. Some of the most entertaining scenes in “Sorry, Habibi” refine – but also bold re -equipment – of the same anomalous rhythms: here is Ashnis wearing a doctor who is not sensitive the day following the attack, or in a morally reflected scene, and carefully explained to the court why you may not qualify to confront the jury. Agnis has a flexible beauty with flexible hair, gently staring at the evaluation, arrested eyebrows, and a tendency to listen with her mouth half an open, as if it was in anticipation of the quantity line that will take it, and we are surprised. It is not above shedding light on her shock, but she noticed how she responds even to good news – such as the Lydie announcement that she is pregnant – with a quick joke; It takes a group of life levels as well as its lowest levels. It is a real original, as well as “Sorry, Habibi”: in the structure of itself about the appearance of a brutal betrayal, this heroic film calmly refuses to allow its heroine to get to know this. ♦