Like Niki Laudu, the film's narrator, Rush is a movie with little time for bull $#!+. While not the most probing "based on" film, I walked out of it feeling like I experienced the year's most visceral production. Impressively, director Ron Howard (Apollo 13, A Beautiful Mind) opted for speed over subtlety and allotment over accuracy. It totally works.
Reuniting with Ron Howard is composer Hans Zimmer (Frost/Nixon, The Da Vinci Code). Zimmer is probably the hardest working musician in the film world right now, having already done scores for Man of Steel, The Lone Ranger, and the upcoming 12 Years A Slave. With that, it's not surprising that Rush, a notable film released during the typically unremarkable month of September, sounds like it's borrowing elements from Zimmer's previous works. The Academy Award winning musician may be a little overextended.
Regardless, Rush is a period piece about the world of Formula 1, and the music producer wisely avoids the mistake of creating a soundtrack that wants to dominate the roar of the race track or the pop tunes of that era. Instead, Zimmer gives us somewhat of an underscore with affecting thematic cues sprinkled throughout. Perfect for the macho mood of the film.
Troy-Jeffrey Allen writes about action/adventure for Action A Go Go. He is a comic book writer whose works include Bamn, The Magic Bullet, and the Harvey Award nominated District Comics. His work has been featured in the City Paper, The Baltimore Sun, Bethesda Magazine, The Examiner, and The Washington Post.
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