Rush Screen 14 articles



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  • Howard awkwardly shifts between the lives of the two men, creating a clunky pacing that feels like being stuck in traffic... With no sense of character or depth, the real-life high-octane story is stripped of any passion or tension.

  • Howard’s hottest point of contact comes at a press conference, where the physically mangled Lauda spits invective at a journalist asking about the state of his marriage. A more daring filmmaker would have probed Lauda’s sacrifice in a quieter follow-up scene. Instead, the movie leans on symbolic imagery that’s alternately tired and ridiculous...

  • Like Chaplin, Rush ultimately turns out to be a film that chooses as its subject brilliance, inventiveness, and fearlessness, while failing to exhibit a single one of those qualities itself. The sheer predictability of Howard's approach to the material—not one moment in Rush doesn't feel deflatingly familiar, not one sequence truly surprises us—delivers a comfort blanket for audiences and critics, when a story as strong as this should be lifting us out of our seats.

  • Maybe Hunt’s narcissism makes confronting his own self-destructive nature impossible. Or perhaps Lauda’s meticulousness is too fortified, leaving no room for his complexity to breath. Either way, the film creates very little feeling beyond the surface of booming engines, blasting cylinders and screeching tires. All that matters is competition, the kind of masculine posturing that undoubtedly leads to self-destruction and collateral damage.

  • Despite a clumsy, intermittent voiceover from Peter Morgan’s screenplay, Rush is basically a foursquare sports film, enlivened by whiplash-inducing, crisply edited racing sequences but otherwise pretty ordinary—certainly not on par with the more grandly scaled craftsmanship in Howard’s Cinderella Man.

  • The racing scenes are exciting and genuinely fun, though they could stand to lose the fuck-yeah rock songs that seem to kick in whenever a character goes above 55mph. But just like any other rush, the thrill of Howard's latest wears off and what's left is a star vehicle, enthusiastically crafted but without much to speak of under the hood.

  • [Rush] pulls off a mini-miracle itself: It's both a perceptive dual character study and, that rarity of rarities, a large-scale action movie for grown-ups, one worth leaving the house for... If the storytelling sometimes feels a bit scrambled—Howard tries to pack a lot, maybe too much, into 123 surprisingly fleet minutes—the racing sequences make up for it. Rush is flawed but alive, and its actors never get lost in the blur of speed.

  • Bathed in warm cinematography—almost identical to that used in Howard's underrated genre bender The Dilemma (2011)—and making unexpected use of avant-garde framing techniques, it's easily his most visually ambitious work to date, though the computer-generated race scenes pale in comparison to Justin Lin’s pulsating Fast & Furious films.

  • Hemsworth makes it clear he’s being wasted as Thor the superhero – though he’s still a very physical presence, at his best in the scene where Hunt beats up a journalist for being mean to Niki – but it’s Bruhl as Lauda who makes the more obvious impact, with his talk of percentages and recurring Austrian-accented “Ash-hole!” at those who annoy him.

  • There are all sorts of narratives that could be spun out of Formula One, including how lives were sacrificed for profit. (In 1994, Ayrton Senna became the last driver to die in a Grand Prix.) It’s hard to believe, though, that even a down-and-dirty exposé would be a fraction as entertaining as “Rush,” which distills racing into a clash of personalities, one nail-biting face-off, a catastrophic accident and a wild comeback. after another.

  • The spectacle is the thing here, and it adds to the danger. Near the end, addressing why a deadly course on a particularly rainy day isn’t being canceled, someone says, “The rights have been sold all over the world.” He might as well look at us in the audience and add, “Plus, there are all these people.” Rush satisfies our lust for both grand character combat and deadly gearhead spectacle.

  • There’s plenty of cornpone alongside the racetrack curves in “Rush,” but this is tremendously exciting cinema – shot by the boundary-pushing Anthony Dod Mantle – as well as old-school escapist drama with ample eye candy for viewers of all persuasions.

  • "Rush," the entirely exhilarating and engaging race-car-rivalry drama written by Peter Morgan and directed byRon Howard, manages to go impressively deeper than platitude-level with their narrative and characterization, and, at the same time, they deliver a highly satisfying and enjoyable popcorn movie.

  • Howard and his crew give the races an impressionistic zing. Getting into a car after this movie is like having sex after seeing John Holmes work. You'll feel like an amateur.

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