This weekend marks the beginning of the Oscar Season as we are about to experience a barrage of films vying for top awards this year. One of the films leading the charge is quickly developing as an early favorite to snag multiple nominations as Ron Howard’s Rush hits theaters this Friday.
Critics are beginning to weigh on on Rush and the overwhelming consensus is that the film is as good as it’s being billed as. Among top critics in the country, Rush has already been certified fresh before it’s official release and is sitting firm with a 90 percent fresh rating.
Working from a very clever script by Peter Morgan (“The Queen”), Mr. Howard doesn’t pick sides. He lets two distinctly abrasive characters rub up against his viewers, chafing them into gear.
- Joe Morgenstern, Wall Street Journal
Though based on a true story, this is no by-the-book biopic. Nor is it a clichéd sports movie about the triumph of the human spirit. Rush is a thrilling action film and a moving tale of an adversarial friendship, a kind of anti-bromance that is as captivating as any love story.
- Claudia Puig, USA Today
Howard’s relatively low $30 million budget did allow Oscar-winning cinematographer Anthony Dod Mantle (Slumdog Millionaire) to shoot a series of racing sequences. And they’re killer. But it’s Morgan’s core script, full of humor, heartache and verbal fireworks, that lifts Rush above the Fast & Furious herd.
- Peter Travers, Rolling Stone
The movie might have benefited from a tweak or two, whether in tightening the pacing of the third act or dialing down Hans Zimmer’s overblown score a notch, but overall “Rush” is an exhilarating surprise from a director who’s been playing it safe for most of his career. Like his heroes, he takes a risk and wins.
- Alonso Duralde, The Wrap
We didn’t know what to make of Rush while it was filming, as Howard would constantly update us via his Twitter feed with photos of the production. But the fractured behind-the-scenes photos we were teased with seem nothing like what we are seeing on screen which is a testament to the type of filmmaker Howard, showing just how masterfully he can mold a wad of cinematic clay into a masterpiece.