Rush
3.5/4
Starring: Chris Hemsworth, Daniel Bruhl, Alexandra Maria Lara, Olivia Wilde
Rated R for Sexual Content, Nudity, Language, Some Disturbing Images and Brief Drug Use
When I first walked into the showing of "Rush," I saw that the film had already started. Disappointed (I never review movies that I haven't seen from beginning to end), I settled into my seat to watch the remainder of the film. As soon as I watched the screen, the adrenaline started pumping. Once I realized that the scene was much longer than a usual opening, I asked the gentlemen behind me if this was the beginning of the movie, and he said it wasn't (I know, I broke the cardinal rule of not talking in a movie. Forgive me...).
The reason that I opened the review with this little anecdote is to explain the skill and craftsmanship of director Ron Howard. Formally an actor famous for his roles on the sitcom "Happy Days" and in "American Graffiti," Howard has proven himself to be a skilled filmmaker. He has directed a number of classic films like "Apollo 13," "A Beautiful Mind" and both Robert Langdon movies (he also directed "Backdraft," my favorite film of his). Of his films, "Rush" is near the top. It satisfies two needs demanded by moviegoers who attend movies like this: it takes time to introduce and develop two interesting and three-dimensional characters, and provides a number of racing sequences that raise the adrenaline to levels that pass expectation.
The film, of course, details the relationship/rivalry between Formula One drivers James Hunt (Hemsworth) and Niki Lauda (Bruhl). Hunt is, or at least acts like, a rock star. He sees his talent as God-given and effortless. He surrounds himself with women and parties, and despite his ego, has many friends. Lauda, on the other hand, is his polar opposite. He's gruff and blunt to the point of being abrasive, hyper-focused and demanding. He has no friends because he doesn't need any. All that matters is that he is the fastest. They're also ruled by different motivations. Hunt drives on instinct, while Lauda is all numbers and analysis. Their rivalry, which lead to a devastating crash that left Lauda disfigured, is as simple as it is complex.
"Rush" is free of all the cliches of a sports rivalry. Neither driver sabotages the other (Lauda makes a dick move, but it's legal), and their rivalry never descends into violence or hatred. They're competitive with each other, but neither would go so far as to seriously injure or sideline the other. Winning fair and square is as important as leaving the other in the dust.
And that last fact is what drives the film's narrative and makes it so refreshing and interesting. Their rivalry pushes each other harder and harder. It's as constructive to both of them as it is nonconstructive.
As with most films by Ron Howard, the performances are strong. I recognized Chris Hemsworth's talent after his one tragic scene at the opening of the 2009 "Star Trek" reboot. Still, with his fame with popcorn movies like "Thor," "Snow White and the Huntsman" (his lone bad performance) and "The Avengers," I still was unprepared for his performance as James Hunt. I could see him as a party animal and a racer. I could not see him as a multi-dimensional figure who is ruled by his ego and his talent. This is a performance that should be in the running for an Oscar nomination (it's too early to say if he'll get one...that depends on the film's reception and the competition).
His co-star, Daniel Bruhl, is not a familiar face to American audiences, although he did have roles in "Inglorious Basterds" and "The Bourne Ultimatum" (he also had the lead in the arthouse hit "Goodbye, Lenin!" Bruhl also demands Oscar consideration, even more so than Hemsworth (although that's almost an unfair statement). The German actor resists the temptation to turn him into a caricature. Lauda is not a likable character, but he's not a hissable villan. Bruhl allows us to understand the forces that drive him and why he does the things he does. His share of the rivalry is fueled by competitiveness and a sense of fairness rather than passion. In fact, there are shades of the Salieri/Mozart relationship from "Amadeus" in this film.
Ron Howard, with his screenwriter Peter Morgan (who's written at least one Oscar hopeful a year for the last decade), concentrates on the characters, but does not forget the races. Each race is riveting; the editing and the camera shots are flawlessly integrated for maximum adrenaline. There were a number of times in this movie where I was gripping the armrests. And at the final race, I was biting my nails in suspense (which I almost never do).
The film doesn't get off to a great start. It takes about 20 minutes for the film to find its groove and establish the characters and their relationships. It's not bad, but it's a little confusing at times. Plus the final scene is a little fuzzy on the lesson the two characters learned.
The film fudges the truth a little (Hunt and Lauda were close friends since the beginning of their careers), but that's to be expected. Besides, it makes for a better story. And while biopics are overexposed these days, this one manages to rise to the top.
Starring: Chris Hemsworth, Daniel Bruhl, Alexandra Maria Lara, Olivia Wilde
Rated R for Sexual Content, Nudity, Language, Some Disturbing Images and Brief Drug Use
When I first walked into the showing of "Rush," I saw that the film had already started. Disappointed (I never review movies that I haven't seen from beginning to end), I settled into my seat to watch the remainder of the film. As soon as I watched the screen, the adrenaline started pumping. Once I realized that the scene was much longer than a usual opening, I asked the gentlemen behind me if this was the beginning of the movie, and he said it wasn't (I know, I broke the cardinal rule of not talking in a movie. Forgive me...).
The reason that I opened the review with this little anecdote is to explain the skill and craftsmanship of director Ron Howard. Formally an actor famous for his roles on the sitcom "Happy Days" and in "American Graffiti," Howard has proven himself to be a skilled filmmaker. He has directed a number of classic films like "Apollo 13," "A Beautiful Mind" and both Robert Langdon movies (he also directed "Backdraft," my favorite film of his). Of his films, "Rush" is near the top. It satisfies two needs demanded by moviegoers who attend movies like this: it takes time to introduce and develop two interesting and three-dimensional characters, and provides a number of racing sequences that raise the adrenaline to levels that pass expectation.
The film, of course, details the relationship/rivalry between Formula One drivers James Hunt (Hemsworth) and Niki Lauda (Bruhl). Hunt is, or at least acts like, a rock star. He sees his talent as God-given and effortless. He surrounds himself with women and parties, and despite his ego, has many friends. Lauda, on the other hand, is his polar opposite. He's gruff and blunt to the point of being abrasive, hyper-focused and demanding. He has no friends because he doesn't need any. All that matters is that he is the fastest. They're also ruled by different motivations. Hunt drives on instinct, while Lauda is all numbers and analysis. Their rivalry, which lead to a devastating crash that left Lauda disfigured, is as simple as it is complex.
"Rush" is free of all the cliches of a sports rivalry. Neither driver sabotages the other (Lauda makes a dick move, but it's legal), and their rivalry never descends into violence or hatred. They're competitive with each other, but neither would go so far as to seriously injure or sideline the other. Winning fair and square is as important as leaving the other in the dust.
And that last fact is what drives the film's narrative and makes it so refreshing and interesting. Their rivalry pushes each other harder and harder. It's as constructive to both of them as it is nonconstructive.
As with most films by Ron Howard, the performances are strong. I recognized Chris Hemsworth's talent after his one tragic scene at the opening of the 2009 "Star Trek" reboot. Still, with his fame with popcorn movies like "Thor," "Snow White and the Huntsman" (his lone bad performance) and "The Avengers," I still was unprepared for his performance as James Hunt. I could see him as a party animal and a racer. I could not see him as a multi-dimensional figure who is ruled by his ego and his talent. This is a performance that should be in the running for an Oscar nomination (it's too early to say if he'll get one...that depends on the film's reception and the competition).
His co-star, Daniel Bruhl, is not a familiar face to American audiences, although he did have roles in "Inglorious Basterds" and "The Bourne Ultimatum" (he also had the lead in the arthouse hit "Goodbye, Lenin!" Bruhl also demands Oscar consideration, even more so than Hemsworth (although that's almost an unfair statement). The German actor resists the temptation to turn him into a caricature. Lauda is not a likable character, but he's not a hissable villan. Bruhl allows us to understand the forces that drive him and why he does the things he does. His share of the rivalry is fueled by competitiveness and a sense of fairness rather than passion. In fact, there are shades of the Salieri/Mozart relationship from "Amadeus" in this film.
Ron Howard, with his screenwriter Peter Morgan (who's written at least one Oscar hopeful a year for the last decade), concentrates on the characters, but does not forget the races. Each race is riveting; the editing and the camera shots are flawlessly integrated for maximum adrenaline. There were a number of times in this movie where I was gripping the armrests. And at the final race, I was biting my nails in suspense (which I almost never do).
The film doesn't get off to a great start. It takes about 20 minutes for the film to find its groove and establish the characters and their relationships. It's not bad, but it's a little confusing at times. Plus the final scene is a little fuzzy on the lesson the two characters learned.
The film fudges the truth a little (Hunt and Lauda were close friends since the beginning of their careers), but that's to be expected. Besides, it makes for a better story. And while biopics are overexposed these days, this one manages to rise to the top.
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