“Rush” desperately strives to race past that finish line and take home the Oscar as the year’s best flick. But this little engine that could hits too many speed bumps to take home the gold. That said, this rough ride makes for a fine silver.

Chris Hemsworth (left) stars as the charismatic Englishman James Hunt, and Daniel Brühl appears as disciplined Austrian perfectionist Niki Lauda in “Rush”, two-time Academy Award winner Ron Howard’s big-screen re-creation of the merciless 1970s Grand Prix rivalry between Hunt and Lauda. (photo courtesy of Universal Pictures)

Let’s be honest. NASCAR isn’t a charming sport; it’s an easy target. Not so for Formula One racing during the 1970s. The USC/UCLA rivalry is nothing compared to British bad boy James Hunt (Chris Hemsworth) and German newbie Niki Lauda (Daniel Brühl). In amateur races facing off, they’re opposites in almost every way: Niki is just as uptight and controlling as James is an undisciplined playboy. These two never stood a chance as friends, but they’re the best of enemies. And when one race turns for the worst (unfortunately kind of intended), Niki draws upon his competitive spirit to survive. Life or death, the stakes are rarely higher in this film based on true events.

The film evenly portrays Brühl, as Niki, in his bold move beyond the shadows of a high-class family. James might’ve proved to be the more daring driver at first, but Niki’s knowledge of engines made him a shoo-in for Ferrari sponsorship. Meanwhile, James knows his way around a driver’s seat almost as much as a woman’s body. But not even marrying supermodel Suzy Miller (Olivia Wilde) can cool his partying ways.

“Rush” marks director Ron Howard’s (“Apollo 13” and “Frost/Nixon”) return to form following some bland contributions (“The Dilemma” and both “Da Vinci Code” films). The real dilemma is that screenwriter Peter Morgan (and Howard by extension) doesn’t trust the visual beauty of his story, undoing many compelling moments with an overly explanatory voiceover by Niki. Everything looks so darn pretty; nobody needs a narrator providing life lessons –– they’re pretty clear throughout the film.

The lasting value of the former “Happy Days” star’s latest film isn’t the performances, which — don’t get me wrong — are solid, but its stunning visuals. This is the most avant-garde Howard will ever be, and he doesn’t waste the opportunity. While a “Fast and Furious” film might utilize juxtaposition between cleavage and engines, connecting sexuality with the need for speed, “Rush” explores the horror of such a profession and the racer’s desire to continue amid deadly settings. When the camera illuminates the inner workings of a racing engine, impending danger always seems to overshadow the beauty at hand.

Howard even discards his usual mainstream production style for a more washed out, grainy aesthetic akin to

“Rush” offers a stimulating look at Formula One racing during the 1970s. (photo courtesy of Universal Pictures)

Spielberg’s World War II contributions –– a truly refreshing approach for a director on the verge of “forgetability” (save his splendid voiceover work for “Arrested Development”, both new and old episodes).

As audiences learn each year, biopics suffer from a lack of cohesion. In an attempt at historical accuracy (a virtual impossibility within the three-act feature film), the randomness of reality seeps in. It’s normally awkward. Luckily “Rush” has something others don’t: an actual plotline.

“Rush” is a heartfelt film that moves between spectacular racing sequences and uneven moral lessons on how to live as death-defying men and husbands. Alas, this is an Oscar nom with no real chance of winning anything, much like Howard’s “Frost/Nixon”. It’ll get some nods and a quaint “For Your Consideration” ad campaign, but there are just too many imperfections. Still, it’s an amazing racing movie and an entertaining contribution to the fall season.