Telling the true story of the 1970’s rivalry between two Formula One racing drivers, “Rush” is a phenomenal film. The acting is absolutely stellar, the plot is edge-of-your-seat gripping and the music only adds intensity to an adrenaline-injected movie. Because its subject may not be considered as intellectual or emotional at first, “Rush” might be avoided by some – but be guaranteed, this film does not shy away from the brutal reality of life and the potential life-threatening choices one makes.

Chris Hemsworth (“Thor”) is James Hunt, an alcoholic playboy who is willing to put his life on the line to win any race- whether it be driving in poor conditions or taking the inside lane while trying to pass an opponent. His rival, Niki Lauda (Daniel Brühl, “Inglorious Basterds”) is the intelligent but disliked Austrian with a knack for insulting everyone around him. The two spend many years, from the lowest class of racing to the highest, always working to beat each other. From sponsorship changes to car rebuildings, each move they make has one and only purpose- to become the next world champion.

The characters in “Rush” (and the real people who underwent these trials) have much more to deal with than simply driving fast cars. Hunt knows deep down that the only reason he is such a good driver is the fact that he does not care if he lives or dies. When applied to his dealings with the outside world, he is often callous and unfeeling, lashing out at others in a well-hidden hope that they could pull him back from the brink. One such example occurs with his then-wife, Suzy Miller (Olivia Wilde, “Tron: Legacy”). In an argument with her, Hunt says one of the deepest lines of the film, “Don’t go to men who are willing to kill themselves driving around in circles looking for normality.”

Another phenomenal performance comes from Brühl as Lauda. He is a diligent individual, forcing his mechanics and driving counterparts past their limits to ensure that he is the best. When juxtaposed with Hunt, Lauda also finds it easy to strike at those around him, though he appears to be in better control of his life and desires. At the midpoint in the film, because of weather problems on the Nürburgring in Germany, Lauda attempts to cancel a race because of the danger. Hunt refuses, believing Lauda’s motivations lie purely in becoming world champion. The race goes on and in a horrifying crash, Lauda is stuck inside a searing inferno in his car.

Hunt is devastated by his actions, blaming himself for Lauda’s misfortunes, not knowing that his achievements on the track are the only thing that will force Lauda to recover and get back on the track. The most powerful scene in the entirety of “Rush” occurs upon Lauda’s return. Hunt approaches him from behind to congratulate and send well wishes, when the man turns and shows the mutilations scarring his face. Hunt stops in his tracks and his eyes well up slightly, impassioned by this man’s love of the race. Sniffles could be heard throughout the theater, the simple, straight-forward camera shots and emotion conveyed in facial expressions was the powerhouse of the scene. Hemsworth, known most for his celebrity through the “Thor” films, was awe-inspiring with his emotion. His previous characters have been mostly steroid-injected masculine stereotypes and though Hunt still holds some similarities, this presentation has demonstrated a side of Hemsworth never before tapped into.

“Rush” does everything right. As aforementioned, the actors perform superbly in their complex roles. Additionally interesting to view is the gorgeous cinematography throughout. The screen varies from wide landscape shots to close up details of the engines as they drive, or Hunt’s nervous habit of flicking a lighter. Each piece in the frame is intentional, attempting and succeeding to convey a deeper message about the frailty of life. This movie would be well worth seeing in theaters, probably more than once.