Rush Reviews

Fast-paced, adrenaline-pumping, and bone-chilling! "Rush" will pull you into this very stylistically directed picture and keep you very intrigued for the first half and absolutely blow you away in the second. The real-life rivalry between Niki Lauda and James Hunt has been talked about for ages, but never has a film stayed this raw to the source material, displaying every minor detail about the affects Formula 1 racing can have on people. The brutality of the races will always be present, and they do not shy away from than at all during this film. The directing is Oscar-worthy from Ron Howard, the sound design is impeccable, the acting, especially by Daniel Bruhl, is superb, but the one thing that this film has that outdoes every film I have seen this year, is it's gorgeous cinematography in and around every scene. "Rush" has it all, and it is easily one of my favourites of 2013!

Ron Howard's directorial career is one of many huge successes interspersed with several massive failures. It's hard to comprehend how the steady hand behind the likes of Splash, Apollo 13 and A Beautiful Mind could also have made films as staggeringly bad as Far and Away, The Da Vinci Code and The Dilemma. Fortunately for us, Rush represents an emphatic return to form, being a really great sports drama and one of the most engrossing films of the year.

When I reviewed Fire in Babylon two years ago, I mentioned that sports films are all too often constructed in a way which shuts out the casual viewer, thereby denying them the mainstream appeal that their subjects deserve. Both documentaries and dramas about sports are often waylaid by "a combination of eccentric jargon, cliquey culture, off-putting aggression and economy with the truth".

The natural comparison point for Rush is another 2011 documentary: Senna, Asif Kapadia's brilliant look at the life of Brazilian F1 driver Ayrton , and the events leading up to his tragic death in 1994. Whatever the differences in production quality or character emphasis (and there are some similarities), there is a fundamental difference in directorial approach.

While Kapadia is a documentarian, Howard is at heart a crowd-pleasing populist. Both film-makers want their film to appeal to the widest possible audience, but Howard consciously pursues this in his storytelling while Kapadia lets the material speak for itself. There's a clear desire on Howard's part for the film to appeal to American audiences, whose interest in NASCAR and other motor sport have often eclipsed Formula 1. This is in itself no bad thing: populism doesn't always have to mean scrimping on detail or accuracy, and Howard's previous collaboration with Peter Morgan (Frost/ Nixon) was both weighty and accessible.

That being said, the opening act of Rush is painted in very broad strokes. While the rivalry between Senna and Alain Prost emerged very naturaally, the relationship between James Hunt and Niki Lauda is intentionally set up as one of chalk and cheese. Hunt is the reckless, philandering playboy who lives as fast as he drives, while Lauda is the clinical, almost humourless technician who prefers to win arguments with numbers rather than fists. The script does occasionally drift into pantomime territory, but both Chris Helmsworth and Daniel Bruhl keep the humanity of their characters at the forefront.

This broad, cartoony tone has one very pleasant side effect: it captures the brash, flamboyant feel of the 1970s. The tagline for Rush is "when sex was safe and driving was dangerous", and Howard successfully takes us into a world which is built upon all manner of pleasure and indulgence. There is a free spirit to the drivers and their managers which has largely disappeared in our media-savvy world, and Howard captures the period details very well, particularly the advertising and the fashions. Hunt's sexual displays can feel very Carry On at times, but again there is enough detail and effort on show to balance it out.

There is, in addition to this, a slight conflict in the early stages of Morgan's script. Morgan has said in interviews that he was originally interested in making a film solely about Lauda: it was not initially conceived as an out-and-out two-hander like Frost/Nixon. It was only as he conducted more research that he came to understand the duality of these characters and how much screen time Hunt needed or deserved. This conflict is apparent in the opening section: Lauda is portrayed as the new, different force coming in, and his initial scenes are more developed while Hunt's are like a montage of playboy thrills and spills.

Having started out somewhat imbalanced (albeit entertainingly), the film really hits its stride when the racing starts, and the differences between the characters gain tension with the dangers present in racing. Howard pulls no punches with either the make-up or the stunts, using the former to great effect to show how unstable and fragile 1970s F1 cars really were. There are any number of suitably wince-inducing moments, whether it's the driver in the burnt-out car with no head, or another driver being lifted from the Nürburgring with a bent and shattered leg.

The racing scenes in Rush are incredibly intense, being every bit as thrilling as the real-life footage presented in Senna. The film benefits enormously from Anthony Dod Mantle, best known for his work with Danny Boyle. His gripping cinematography presents the race from many unusual angles, all of which make the races feel cinematically unique and unpredictable. The camera takes us inside the bolt guns to change the tires, inside the pistons as the engines fire, and shakes wildly to recreate the responsiveness (or lack thereof) of the suspension.

Having started slowly and then begun to go up in the gears, the film then fully opens the taps with Lauda's accident. Lauda served as a consultant on the film, and even he expressed surprise at how visceral the finished scenes feel. Every aspect of this sequence - the fire, Bruhl's make-up, the scenes of him in hospital - drive home the pain and anguish of the character. It's a truly heart-stopping sequence, leaving us at once heartbroken and horrified.

From then on, Rush stops being just a very well-made racing film and starts to bring forth on all the things the racing represents. Senna definitely started this process earlier, using early footage of Senna to foreshadow events and bring out ideas about death, God and destiny. But Howard still does a very fine job, and Morgan resists taking the Frost/Nixon route of fabricating scenes to move the characters closer.

At the heart of Rush is a relationship built upon jealousy and obsession. Both Hunt and Lauda are driven to compete, but this drive, this rush, manifests itself in different ways. The two men both admire and hate each other: each wishes the other would behave like them, but are also grateful for the challenge their differences present. Hunt's speech at the end about numbers taking the fun out of driving reflect Senna's comments about his final car, which had computer-controlled suspension: both men felt the technology and maths were a fatal distraction from what should be a pure, thrilling experience.

The film also looks at the loneliness of driving, and the way in which their profession leaves both men somewhat empty. Lauda calls happiness an enemy, saying that allowing himself to be satisfied would destroy his competitive spirit; even after he has married the love of his life, he cannot bring himself to be happy. As for Hunt, he is constantly searching for the next thrill, whether it be a race, a woman, a drink or punching a journalist. He has no ambitions beyond each individual chance to prove his worth, and once victory comes, he goes in search of the next one.

Rush is a really great sports drama which deserves to get a wide audience. Howard directs at the top of his game, while Hemsworth and especially Bruhl provide powerhouse performances in amongst the camerawork and pyrotechnics. Ultimately it is brasher and more mainstream than many would like, and Senna remains the better work in terms of substance. But this is still a really gripping, thrilling piece of work, and may be Howard's best since Apollo 13.

Chris Hemsworth has had a very good career and he is a talent actor who has shown that he can act in various genres. With Rush, he delivers the finest performance of his career, and he is just perfect for the role. Hemsworth looks like James Hunt. In terms of a biopic, Rush is among the finest in the genre, and what surprised me is that it was a movie that took a different route. Ron Howard has crafted a thrilling movie that tears across the screen, and you're drawn towards the intensity of the story. Rush is among the finest films this year, and this is among Ron Howard's strongest efforts. In terms of accuracy, this film was very accurate, a statement reinforced by Niki Lauda. This is a film that tells the story of an intense rivalry, but also underneath it all, both drivers had respect and you clearly see that in a few scenes. Hemsworth is wonderful in his performance and Daniel Bruhl, who previously played Fredrick Zoller in Quentin Tarantino's Inglourious Basterds plays Niki Lauda and he is perfect for the part because he really does look like the real Driver. Brilliantly directed and acted, Rush has minimal flaws, and it succeeds at overcoming its limitations due to a strong script and effective direction from Ron Howard. If you're looking for a thrilling, drama, then this is a film not to miss. I've seen many great films this year, but this is among the best. The real life story brought to life by a great director who manages to create a different type of biopic is what makes Rush so engaging and ultimately satisfying. Don't expect anything with big explosions or mindless thrills, Rush is a story about overcoming the impossible, and though it shows the rivalry between Lauda and Hunt, Ron Howard decided to focus more on Hunt's dedication to win, and that's what makes Rush such an exciting experience.

The biggest accomplishment of Ron Howard's "Rush" is that the out-of-the-car moments are consistently the most exciting ones that the film has to offer. This perhaps comes as no surprise -- in comparison, the race sequences are cut roughly to mask the fact that (obviously) no races were actually filmed, and the script was penned by Peter Morgan, a man who has already proven himself more than capable of writing captivating character relationships (as he did with Frost/Nixon). While Daniel Bruhl perhaps had more weight to pull due to the fact that his character is more subdued (an introverted calculator), both he and Chris Hemsworth do great jobs depicting these real life rivals. Most important of all, neither character is the 'main character', as audiences are instead left to naturally choose sides between two very different ways of thinking, living, and racing. And despite my previous comments on the editing, the racing still manages to be suspenseful exactly because the characters in the cars are such relatable, fleshed-out humans.

'Rush'. Ron Howard's direction is simply exhilarating. Brilliant sound design and score. The screenplay hits a lot of emotional highs.

After the incredible visual and aural opening that sets the scene for things to come, the writing goes off-track at the start, leading to a period of the film early on that plods along. My faith was restored soon enough, with Peter Morgan ultimately delivering and then some. The symbiotic relationship between the two over the course of a couple of years makes for great drama.

It'd make a great double feature with 'Senna'.

Ron Howard and Peter Morgan have both been hit and miss in recent years, but their latest collaboration proves to be a huge success. Chris Hemsworth and Daniel Bruhl are superb and Howard gives the film a gorgeous visual style. Hans Zimmer's score is thrilling, the script is full of great dialogue and the pacing is very tight. A few annoying traits of sports movies pop up every now and again, but overall ''Rush'' is an exhilarating and emotionally resonate drama.

Rush was filmmaking at its finest. A true masterpiece from Ron Howard and this brilliant cast.

it's not a movie I would watch very often, but it's well worth the trip to go see it on a big screen. the race sequences are spectacular, the performances from the two leads are great and it's one of the most interesting and captivating sports stories I've seen in a long time. I was genuinely on the edge of my seat waiting to see how it all played out, and the outcomes were incredibly satisfying. I'll probably never buy the Blu-Ray, and I still won't watch racing as a sport, but 2 hours later, Rush is a pretty fantastic time at the movies : )

While most modern racing films prove as complicated as, well, perpetually making a left turn, Ron Howard's pedal-to-the-metal account of a true race car story gives filmgoers his and the auto racing genre's most winning lap in years. Granted, the whole crux of Formula One racing is that it takes the cars off of a course and onto the road. It's kind of ironic then that this sport attracted a filmmaker so renowned for making films so buffed to pristine-looking perfection that they look like they just rolled off of a car lot. Long a bone of contention with this reviewer, his presentation often seems a little too faultless even if the material presents fact-based situations wrought out of grit and spit-not polish. With Rush, however, the pistons and turbines rank and rise with beautiful precision literally and figuratively as an emotional swordfight plays out on-screen.

The R-rated Rush gives filmgoers a re-creation of the merciless 1970s rivalry between Formula One drivers James Hunt (Hemsworth) and Niki Lauda (Bruhl).

Brilliantly casted (finally, performers who look like their real-life counter-parts AND can act) and smartly scripted (true, Peter Morgan's screenplay uses a narrated bookend approach but, as Lauda is still very much with us AND consulted in the film, it's a lucky strike--not a cheap device), Howard's shiny stylistic chassis fits the mechanics nearly letter perfectly because he also gets down and dirty. If the awesomely staged crashes and sound FX pitted amidst the high-stakes affecting chase for victory doesn't stop your heart, you're already dead.

Bottom line: Praise of Thunder.

In my opinion, this is one of the best racing films I've seen. Definitely better than movies like Driven, Talladega Nights, Cars, Six Pack, Heart Like a Wheel, or Days of Thunder. The racing scenes in the film are unbelievable. Howard gets the audience into the driver's seat. You literally feel like you are behind the wheel of the car.

The casting of the film was also great. Chris Hemsworth and Dniel Bruhl are both great in this film and have a great on screen chemistry. What works is that you care for both of them. You want to see both of them win. Hemsworth reminded me at times of the late Heath Ledger. Olivia Wilde was good but had very little screen time. Alexandra Maria Lara is great as Bruhl's wife in the film.

I definitely recommend this film.

Director Ron Howard's Rush is a return to excellence for him, and represents one of the better efforts of the year. While ostensibly a sports drama, the film manages to be so much more. It works to amazing effect as a simple sports tale, yet has numerous layers of complexity to make it a much more dramatic and impacting experience. In the end, we ultimately care not about who wins the race or who loses, but marvel instead at the characters at play, their growth, their rivalry, their flaws, their unbridled ambition, and yet the markedly different ways in which they channel that energy.

Ron Howard's direction is both exhilarating and exacting. The race sequences are some of the best put to film in many years, perhaps ever, engaging the audience with an incredible energy, yet staging them authentically, and never sacrificing the realism of the film. Many sports films create artificial tension, yet Howard lets the scenes escalate organically, and never forgets the cardinal rule of any successful film-- the attention must be, first and foremost, on the characters.

The performances from both Chris Hemsworth and Daniel Bruhl work perfectly together. Neither performance could rightly be described as "powerhouse", yet the chemistry was there, with the script and Howard placing both actors in position to succeed. It was the contrast that the two drew that was the most striking. Hemsworth as the reckless gambler and Bruhl as the analyst played well against each other. We got to see their differences through their mere body language and on-screen presence, rather than forced bits of dialogue.

What I found the most fascinating with Rush was the character of Daniel Bruhl. The film paints Bruhl as a rather austere man, conservative in his personality, and generally reserved. Yet, there is a sense of danger and restless ambition within him that I can scarcely recall being put to film to such an effective degree.

In the end, Rush is a film that gives you an appreciation for the sport, yet uses the actual racing sequences as a backdrop for its more nuanced character study, a study with no clear verdict, no clear protagonist. It's a fascinating film.

4.5/5 Stars

This film will delight Formula One fans especially -- it is packed with exciting race scenes, tight editing, good story telling and strong performances from Chris Hemsworth and Daniel Bruhl. Chris Hemsworth is likeable as the charming playboy James Hunt, but Daniel Bruhl's portrayal of Niki Lauda is so brilliant and believable, so much so that I think he stole the show!

Adult style racing film Rush is a huge comeback for director Ron Howard. This isn't to suggest he was previously on an endless downhill fall, but after a three in a row succes (The Davinci Code, Frost/Nixon, and Angels & Demons) he directed the junk film, The Dilemma. But that's all in the past with Rush. The film focuses on the real life battles between James Hunt and Niki Lauda. I knew nothing of these two coming in, so the final race scene was especially gripping for myself. The characters are played by Hemsworth and Bruhl, who both put up solid performances. These two forces of racing are highly different, I was switching between the one that I prefer. These aren't just two different racers, they are different style of lives. You have party lover James Hunt on one side, and Lauda who won't stay up past nine on the other.

The cinematography in this movie is some of the best I've seen in awhile, in it's tecnological saviness. Car lovers will orgasm over some of the shots, fast moving, and beautiful to the eye. The film has notable make up artists as you can see in the development of Launda's face after the accident. Speaking of which, Rush has the greatest cringe scene ever, perhaps only behind Clean, Shaven, and Irreversible. As Launda is in the hospital, they must pump the junk out of his lungs, through a long metal pipe. In a scene that can't end soon enough, I was left cringing and looking away in my seat. I'm going to be keeping a closer eye on screenplay writer Peter Morgan after this, he's written two other non fiction film that I've respected, Frost/Nixon and The Dammed United. In all three of these movies the dialogue is a crucial factor.

So yes I loved Rush. Despite having sex, drugs, profanity, the film is classy as all hell in style. Has a similar intense yet comftrable feeling as 2012 Oscar winner Argo. I strongly reccomend this film to those interested in racing, or those like me, who know near nothing about it.

Rivalry is key in Ron Howard's "Rush", pitting two amazing performances against one another, from Chris Hemsworth and the all-but-unknown Daniel Brühl, and creating the highlight of the film. The element that tends to sway audiences away from the film is its root in Formula 1 racing, which is not so popular here in the states, but "Rush" is as much about Formula 1 racing as "A Beautiful Mind" is about economics. Both are American bio-pics, directed by Ron Howard, but these strong elements are merely backdrops for the outstanding performances and a means to display some high octane, tension building moments between the two leads. Chris Hemsworth plays the suave party boy James Hunt. In Formula 3, he's a machine at taking first place and taking home the girls. That's until he meets Niki Lauda, played by Daniel Brühl, who is a machine in his own right, with an ability to modify cars that gives him a distinct advantage. "Rush" follows their epic rivalry from racing in the minor leagues to being the most talked about enemies ever in the sport of Formula 1. Every moment you see them face off on-screen is a enigmatic moment that keeps you begging for more. Depicting these real life men and their lives outside of racing as well, Olivia Wilde, Alexandra Maria Lara, and Christian McKay all provide memorable supporting performances, with Wilde and McKay being heavily underutilized. Although strong performances, it's hard to see these men getting any Oscar buzz, while Howard may prove fruitful in his involvement, building a significant stage for this real life sportsmanship to play out. For those that avoid this film because of its racing ties, I feel sorry for, as this will be remembered as one of the strongest adult dramas of the year.

I don't watch racing, have any interest in it, or know anything about it. But this film doesn't require you to have ANY interest in racing. It's a masterfully acted piece of cinema, and though Daniel Bruhl really is fantastic also, Chris Hemsworth is the topic of discussion. Before this film, all I could think of him as was Thor. But this film changes everything for me. It's an outbreak film for him in the sense that he's become a real actor. While there's no denying he was fantastic in Thor as well, this is where he becomes a big name, respected actor. Ron Howard is such a versatile director, from 'A Beautiful Mind,' to 'Apollo 13' he's done a great job. This film though, has a kind of 'Cinderella Man' esque to it. Why ? I'm not sure. It's not an underdog story, that's for sure. But the idea of desperation is present in both films, though for vastly different reasons. Although at times it seems like 'just another sports film,' the film surprises you with thrills, plot twists, and really, the intensity that films no longer are able to produce.

The film is worth seeing alone for Hemsworth, but if you do choose to see it over this opening weekend, be warned that it's not a typical cliche sports film. It's a tale of pride, and vengeance, and outlines what the effects of pride/arrogance are. The film showcases all-star performances, and magnificent shots and direction from Ron Howard.

Ive been a long-time admirer of Director Ron "Richie from Happy Days" Howards films. Cocoon, Parenthood and The Paper won me around some time ago so I was interested to see that he was directing a film about something I knew a little bit about? What he achieves with Rush is a worthwhile film which is aided by very good portrayals of two differently interesting characters and a fascinating (if exaggerated for effect) rivalry. Allied with this are some superb racing sequences that are created with a lot of style and excitement.

James Hunt (Hemsworth) is of a privileged background and he has a talent for driving cars. He is a part of an organisation that races in a division below Formula One as a part of a small team financed by friends. At this level the cars are of a relatively equal standard and it is here that Hunt first comes across an Austrian called Nikki Lauda (Bruhl). Lauda (also from a wealthy background) attracts attention straight away with his professionalism, dedication and attention to detail. Hunt is the opposite in that whilst serious when in the car, out of it he seems anything but with a carefree, fun fuelled attitude. In their first meeting, Hunts aggression forces Lauda off of the track and wins the race much to Laudas annoyance. However, Lauda has ambitions beyond this level and buys his way into a formula 1 team and impresses enough with his knowledge to get a drive in the team. Hunts team make the step up to Formula 1 but are unable to sustain this financially and Hunt is left without a team to drive for. This affects his marriage and he begins on a path of self-destruction until he is thrown a lifeline by McLaren who have unexpectedly lost one of their drivers to a rival team. With a renewed vigour, Hunt and Lauda battle it out for the title with internal politics, tragedy and no little bravery and skill affecting the eventual outcome.

This film is an unqualified success. My only real criticism of this film is that Hunt had his victory in the British Grand Prix rescinded on a technicality that I though was critical to the story of the title but this fact was omitted. Thing is that most wont really know or care about this and neither should they (my problem and mine alone).
Whoever was responsible for casting Hemsworth and Bruhl should be congratulated. Both are convincing and I felt there was an on screen chemistry between them. Also, whilst they are both different personalities I warmed to them equally but for different reasons.
The real highlight is the race sequences which are nothing but spectacular. Flashy techniques are evident but never overdone and Rush manages to keep a 1970s feel throughout that I really liked. Its style reminded me of the outstanding BBC series Life On Mars in this regard.
I saw this as a story of how some aim for a goal, achieve it and become stronger for it, whilst others are unable to motivate themselves again in the same way after reaching the pinnacle. I used to be taught Maths by a teacher who used to say that it is hard to get to the top but even harder to stay there. Maybe she didn't contemplate that not everybody actually wants to stay there. For people like Hunt once they get there they might feel like they have nothing more to prove whilst the Laudas of this world feel the need to prove it time and time again?