Ron Howard’s Rush looks at two different, specific types of male arrogance. Like Frost/Nixon, Howard’s other collaboration with screenwriter Peter Morgan, this drama uses broad strokes for everything except the development of its two lead actors. This can be frustrating for two reasons: secondary characters, especially the women, drift into the background even though they don’t deserve it. More importantly, Rush is based on the rivalry between two real Formula 1 drivers, and it distorts their conflict so it fits an easily digestible Hollywood formula. These two issues notwithstanding, this is smart, exciting entertainment, with plenty to say about how ego coexists with success.