Best film of the year so far!!!

Rating: 10/10 (30 September 2013)

From the theatrical trailer, it appears that Ron Howard's first directorial project since 2011 will appeal only to sports and Formula One fans. It is a pleasant surprise when this proves entirely untrue. Rush follows the intertwining on-track careers and personal lives of James Hunt (Hemsworth) and Niki Lauda (Brühl) - one a carefree playboy with great natural talent, the other a brilliant tactician willing to work his way to the top - throughout the 1970s, culminating in their battle for the 1976 world championship. The compelling narrative, centering on the drivers' clashing personalities and progression from bitter rivals to mutual admiration, would be an enthralling tale even without the dangerous thrills of Formula One.
The supporting cast all deliver strong performances (Lara is especially stunning as Lauda's ever-supportive wife), but the film belongs to Hemsworth and Brühl; thankfully their dynamic performances prove more than worthy of carrying the film. Hemsworth's Hunt wins the heart of racing sponsors, several ladies, and the audience through embodying the British superstar's wild ways, witty self-deprecation, and exuberant confidence. However, he keeps his portrayal from devolving into caricature by imbuing Hunt with a sense of loneliness underlying his charisma, perhaps an emotion he attempts to fill with the track's life-or-death thrills. Brühl, who met with Lauda several times to prepare for the role, effectively changes his accent and mannerisms to become the endlessly determined, brusque-to-the-point-of- offensive Austrian. Anyone familiar with the 1976 championship will know that Lauda's career takes a terrifying turn; Brühl keeps every ounce of characteristic blunt stubbornness whilst giving viewers glimpses of (understandable) mental distress. His nuanced performance may well be awards-worthy.
While some of Howard's recent projects have not lived up to the greatness of Apollo 13, A Beautiful Mind, and Frost/Nixon, Rush is arguably of their higher calibre. Howard's eye for cinematography and framing shots is particularly striking, notably in the harrowing hospital sequences and exquisite melding of archival footage at the end. He is aided by Peter Morgan's smart screenplay and Hans Zimmer's effective score; the former keeps the plot's pace moving briskly whilst the latter evokes both the excitement of 1970s Formula One and its lethal undercurrent.
Rush's greatest achievement is arguably its ability to make two deeply flawed protagonists incredibly sympathetic, involving viewers in their fierce competition and often equally tormented personal struggles. While the film centers around the ultimate contest, it is hard to take sides whilst wishing for both drivers to succeed.