Rush Review

Does this F1 biopic feel the need for speed, or the need for a more engaging narrative? Our verdict...
Every now and then, perhaps once in each year, a motion picture will appear in our wing-view mirror that skilfully presents a genre or subject in a manner that engages and compels us more than we had ever thought possible. Indeed, in the case of Rush, this 2013 Toronto Film Festival entry bases itself around the interwoven journeys of James Hunt and Niki Lauda within a Formula 1 championship, something which until now had never proven of great intent to this reviewer.

It's astonishing, then, to be able to confirm that Ron Howard's latest directorial contribution will successfully invigorate even those viewers (such as myself, to a large extent) who for the most part hold an apathy towards those who put their lives on the line every time they take the wheel. Central to its grip over the audience is the strength of the cast ensemble Howard has assembled- though only Chris Hemsworth, Olivia Wilde and Natalie Dormer mark the most established names on the list, rising stars such as Daniel Bruhl (Lauda) truly can hold their own while sharing the stage with those who've played Asgardian Gods, digital AIs and manipulative wives here.

Howard's contribution to this breathtaking piece cannot be understated, either. Were it not for the spectacle and encapsulating realism with which he presents and affords Grand Prix racing during the various on-track setpieces, it is more than arguable that much of the movie's dramatic impact would be lost, seeing as the viewer would instantly see behind the illusion of the believable representation of the characters and events that is achieved. However, those two elements are finely honed and out in full force, a fact which ensures that far from the moments which don't focus on emotional subtlety becoming dull and too action-driven (no pun intended), they're every inch as captivating and thus tedium never sets in.

Of course, that aforementioned subtlety to be found between races is simultaneously hardly lacking. A moment shared between Hemsworth's Hunt and Wilde's Suzy remains particularly resonant for this reviewer, the intricacies and layers of both performers' portrayals of these two conflicted lovers drawn together by necessity proving to be nothing short of sublime. Bruhl's Lauda initially seems to be pitched as the piece's antagonist, yet what's most impressive of the storyline is that soon enough the clichéd analogy of 'shades of grey' comes into play, with both Hunt and Lauda exhibiting traits of the classic tragic hero in their visible shortcomings. As any fan of these two sterling competitors will know, tragedy is to come, and Howard doesn't shy from dealing with the key aspects of both characters' darkest hours, but this only serves to enhance our understanding and engagement with their dilemmas and wipes the protagonist/antagonist concept from the slate by the film's third act.

Rush isn't devoid of blemishes: to me, the movie's adherence to its biopic format becomes somewhat too notable at times and it's challenging not to question whether events have been dramatised with more than a hint of exaggeration in a few instances. Even so, this is without a doubt one of the finest films to have appeared in the box office in 2013, its innovations both within the sports genre and indeed in terms of direction and performances outweighing its minor setbacks. There's such an honest and delicate representation of two debatably iconic figures here that it's near impossible not to become swept up in all of its grandeur and drama, regardless of the viewer's inclination regarding F1, its competitors and the like. To be able to say that is immensely gratifying, and one can only hope that future film pioneers attempt such integrative experiences as this in the near future.
4.5/5