Rush ends with such a cop out, all it does is draw attention all the other cheap things Howard and writer Peter Morgan do to make the film exciting. Technically, it’s fine. Howard’s direction is good, Anthony Dod Mantle’s photography is great, Hans Zimmer’s music is fine, Morgan writes okay scenes… it’s just mundane.
Howard does get great performances out of Daniel Brühl and Chris Hemsworth as the leads. It’s a shame Morgan can’t create a real relationship for the two men; he can’t even adequately juxtaposition them. The scenes where Morgan tries to point out their similarities and differences are, well, pointless.
A lot of the problem is Howard. He doesn’t have any approach to Rush. It’s sort of a biopic of the two men, sort of a look at the 1976 Grand Prix season, but the film starts too early in order to establish the characters through amusing scenes. Brühl is a sensible Austrian jerk, Hemsworth is a hard-partying ladies man. Maybe if the picture had focused on the racing season–with the other racers being something other than background–Rush would have turned out better.
Alexandra Maria Lara plays Brühl’s love interest. Hemsworth goes through a handful of love interests, with a stilted Olivia Wilde playing the most serious one.
The real stars of Rush are editors Daniel P. Hanley and Mike Hill. The races aren’t exactly exciting as much as endlessly dangerous.
Too bad Howard didn’t follow the lead and take any risks. Rush stalls.
Directed by Ron Howard; written by Peter Morgan; director of photography, Anthony Dod Mantle; edited by Daniel P. Hanley and Mike Hill; music by Hans Zimmer; production designer, Mark Digby; produced by Howard, Morgan, Andrew Eaton, Eric Fellner, Brian Oliver and Brian Grazer; released by Universal Pictures.
Starring Chris Hemsworth (James Hunt), Daniel Brühl (Niki Lauda), Alexandra Maria Lara (Marlene), Pierfrancesco Favino (Clay Regazzoni), Stephen Mangan (Alastair Caldwell), Christian McKay (Lord Hesketh), Alistair Petrie (Stirling Moss) and Olivia Wilde (Suzy Miller).