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F1 racecar driving, the fastest and best drivers from around the world, not for the faint of heart, and it’s big business. So, when the talented up and coming driver Joshua (Damson Idris) is paired up on the same team with the old man who’s seen a few things, Sonny Hayes (Brad Pitt), naturally the sparks might fly. But will their onside competition be the combustible reaction that launches Team Apex to success or blow it to pieces at the pole? Written by Ehren Kruger and Joseph Kosinski, Directed by Kosisnski, and Produced by Jerry Bruckheimer, no slouches when it comes to action, writing, directing, and production of a blockbuster.That said, how does F1® The Movie measure up? From a screenwriting perspective, all the requisite blockbuster boxes are checked, old friendships re-kindled, a predictable burning romance is lit, archetypal bad guys to get their due, and the hero’s quest with tale of redemption, check, check, check, and check. And for fans of F1 racing, of course it’s the dramatized look at the F1 world, but the film does a fairly decent job capturing that essence of racing, the thrills the chills, the spills, and a smattering of what goes on behind the scenes. Bottom line Brad Pitt, Damson Idris, Javier Bardem, and Kerry Condon, all chew up the scenery to sell the drama. Score from Hans Zimmer adds extra punch as necessary, and cinematographer Claudio Miranda brings his A game. Congrats, the first official summer blockbuster is in Pole Position at 2 hours 35 minutes and rated PG-13.

28 years since the Rage virus struck the earth, the UK has since been quarantined as infected, yet, just off the coast, a small island of survivors have persevered. Now, with a mission in mind, a contingency must leave the island only to discover what the virus has done to the mainland and its inhabitants. Written by Alex Garland and Directed by Danny Boyle the post Rage virus apocalyptic exploration of the world continues with an all new ensemble that includes, Aaron Taylor-Johnson, Jodie Comer, Alfie Williams, and Ralph Fiennes. A world where the zombies are just as fast as ever, perhaps stronger than ever, and in a strange turn of events possibly more sentient than ever? Naturally Boyle continues to bring his cinematic flair in photography and editing along with his sentiments of scoring via pop/punk selections and traditional composition, the trifecta of the Boyle panache, always a treat. And Garland, no stranger to apocalyptical sci-fi themes seems well versed to take on the material, but buyer beware, without spoiling anything, please realize this piece is only the first of a trilogy and not a fully told narrative, rather instead it serves as once again a world builder for the larger story overall, and, this time beyond a zombie horror and subtext, the heavy importance and philosophy of Memento Mori is present, in that to understand death you must acknowledge that at some point you too will die, a somber reminder of mortality. That said, if you’re looking for a self contained, standalone zombie horror, you’ll have to search elsewhere, 28 Years Later on the other hand is laying the groundwork for something much larger. With this installment running an hour and fifty five minutes, the break point seems like the proper end to a chapter, just in time to cue up for some more zany fun. 28 Years Later is rated R.

Lucy (Dakota Johnson) is failed actress turned matchmaker working in New York, and, as it turns out she’s very good at her job, matching women seeking partners based on materialistic characteristics with equally materialistic partners. But coming from her own failed relationship with starving artist, John (Chris Evans), and now meeting her own Unicorn, Harry (Pedro Pascal), the age old tale of love or money is set. Written and Directed by Celine Song this romantic romp is set to give it the ol’ college try with material the ensemble all handle aptly. Unfortunately in terms of story complexity or originality the script falls short of the mark, specifically when it comes to any lessons learned or transcendence to advance the plot in an interesting way; the end result is a relatively flat outcome.That said, you want the feel-good romance, you got it, but keep those expectations low, the film runs just as shallow as its characters. Running an hour and 56 minutes Materialists is rated R.