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Rush Blu- ray. Rush, though, is a welcome departure. It certainly isn't the first time Howard has brought a true story to the screen, nor is it far removed from the character- beholden biopic template he's used before.

But there's an intensity, spontaneity and viscerality on display here - - on the track and off - - that's decidedly un- Howard. The dynamic, multi- camera racing scenes are unlike any that have ever been filmed, and very little of the resulting high- speed, gut- check drama is attributable to CG wizardry. The performances are uniformly excellent; the product of a slick script, shrewd casting and raw talent.

The production design oozes authenticity, from costuming to locations and sets, hair and makeup, on down. Above all, the story of James Hunt and Niki Lauda's 1. Formula One season is a fascinating one, regardless of one's interest or disinterest in the sport; it's all so attuned to cinematic adaptation that it's almost difficult to accept how much of it actually happened. Rush is easily one of Howard's finest films as well as one of 2.

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What kind of person does a job like this? Not normal men, for sure. Rebels, lunatics, dreamers.. My name is Niki Lauda. In racing, people know me for two things. The first is my rivalry with him.

I don't know why it became such a big thing. We were just drivers.. To me this is perfectly normal but other people saw it differently. That whatever it was between us went deeper.

The other thing I'm remembered for is what happened in August 1. I was chasing him like an asshole. Hunt, a rock star in racing, is beloved by the masses but a notorious thrill- seeker, substance abuser and playboy, despite being married to supermodel Suzy Miller (Olivia Wilde, Tron Legacy). Lauda, blessed with a brilliant mind, is a more professional, introspective competitor, investing countless hours into improving his car and technique to truly be the best of the best, often at the expense of his relationship with Marlene Knaus (Alexandra Maria Lara, Downfall). Formula One racing in the 1. The cars are continuing to grow faster with each passing year while the tracks remain unchanged.

Turns become deadlier, curves more treacherous and crashes more terrifying. Fuel tanks are being installed directly below drivers. Shedding weight from the car is a must. Safety becomes less and less of a priority. And the dead and injured aren't dissuading anyone. Whether Lauda or Hunt will win the 1. Whether they'll survive is.

Howard and screenwriter Peter Morgan's Hunt and Lauda aren't portrayed as gods or men, but rather something else entirely; death- defying creatures of will and habit (respectively) to whom celebrity and daredevil become synonymous with risk and reward. Hunt embraces his every impulse and desire with abandon, yet exhibits such uncanny skill and control behind the wheel - - reckless as it might appears to a layman - - that he becomes an inexhaustible contradiction. His life is one of chaos and excess, stilled only when gambling with that very same life at breakneck speeds.

Lauda, by contrast, is meticulous, obsessive and secretive; a tinkerer and genius with a restless mind and unflappable focus. His life is one of order and calculation, set free only when his endless efforts are put to the test. Both racers are drawn to the track but for such wildly different reasons that the rivalry that develops is between competing philosophies and ambitions rather than a contest between mere sportsmen.

Hemsworth and Br. The races, meanwhile, are a rush of adrenaline all their own. Using dozens of cameras, many mounted directly on the cars and drivers, Howard and cinematographer Anthony Dod Mantle create a startlingly involving and masterfully gripping sense of speed and danger. Hunt and Lauda's lives, rivalry and friendship are suddenly that much more fragile and finite, and the suspense that accompanies each lap - - each turn - - is nothing short of remarkable. The film's desaturated, nostalgia- fueled '7. Howard and Morgan occasionally seem more interested in evoking the post- Boom culture and sexual revolution than in necessarily recreating it - - but it's hard to fault the filmmakers for romanticizing the period and the F1 icons when dealing with . I certainly didn't think I'd come away with a deep appreciation and awe of it all, yet that's exactly what happened.