Variety‘s Peter Debruge has gone apeshit for Ron Howard‘s Rush, which will have its big debut at the Toronto Film Festival. “Too often Howard has played it safe, but here his choices are anything but obvious. He embraces the power of music to heighten the experience, but goes the opposite direction that one might expect with it, using Hans Zimmer’s cello-driven score to steer things to a deeper place. The same goes for the story itself: Who else would have imagined Formula 1 as an appropriate conduit for existential self-examination? And yet, you’ve seldom felt more alive in a movie theater than you will experiencing Rush.”