Last week I was lucky enough to see a screening of "Rush" in one of my film courses at the University of Southern California. I expected it to be a typical blockbuster action movie aimed to please men with cars and testosterone, and women with Chris Hemsworth.

I could not have been more wrong. So wrong, in fact, that it changed my entire perspective on cinema. And compelled me to write about it before I see it again when it premieres tomorrow.

"Rush" not only restored my faith in action movies, but also made me a believer in film. Two-time Academy Award winner Ron Howard ("A Beautiful Mind," "Frost/Nixon") and two-time Oscar nominee Peter Morgan ("Frost/Nixon," "The Queen") are absolute visionaries, and this movie showed just how sharp their intuition is for knowing what makes a film exceptional—even Oscar-worthy.

For starters, the film is based on a true story. It recreates the longtime Formula 1 rivalry between English racecar driver James Hunt (Chris Hemsworth) and Austrian driver Niki Lauda (Daniel Brühl), circa 1970s. The plot is interesting on its own, but the fact that this actually happened pulls the viewer into the story and feel like a real spectator going back in time to witness this piece of Formula 1 history. This is especially true as an American born long after this story took place, as the unfamiliarity with the story adds quite a bit of suspense, thrill and intensity of not knowing how the story unfolds. It also allows the mind to question the validity of the story and how much of it is based on fact versus dramatization. The personality profiles and private lives of Hunt and Lauda, for example, are very much exposed in this film. Knowing that the main characters are based on real people makes the viewer wonder how accurately the actors portrayed them.

The casting of the film was spot on. Just in terms of appearance, the main cast members all look strikingly like their real-life counterparts. Hemsworth lost weight for the role to fit the tall and gangly yet muscular appearance of the real James Hunt. Olivia Wilde, who plays model Suzy Miller, James Hunt’s first wife, looks very similar to the real Suzy Miller. Brühl changed his look completely from "Inglorious Basterds" to fit the dark and serious Austrian Niki Lauda.

The acting is truly exceptional, though, and both Hemsworth and Brühl capture perfectly the intricacies and complexities of their character’s personality traits. As the story goes, Hunt and Lauda could not have been more opposite in terms of work ethic, lifestyle, personality and personal values. Hunt, a clear extroverted, testosterone-charged risk-taker, contrasted with Lauda, a more introverted, deep thinker with a near-obsessive focus on perfection and staying within the limits set out for him and the ones he sets for himself.

For his part, Hemsworth succeeds in his portrayal Hunt as an adrenaline-charged, live-on-the-edge playboy with a notoriously wild and promiscuous sex life. He proves his range as an actor and shows he can extend far beyond his superhero typecast (Thor). Hemsworth captures the superficial side of Hunt that the real James Hunt put on for show, but he also reveals an emotional side to him that would not have been obvious to fans at the time. Being a tall, attractive sex symbol would not have been a difficult task for Hemsworth, but the depth and quality of his performance was impressive.

Daniel Brühl’s portrayal of Niki Lauda is one of the best performances I’ve seen in a long time. I had no expectations for what Brühl would bring to the table as an actor going into the film; since I’d never seen his work before Rush. All Austrians cannot be grouped into one personality type, but Brühl fully exposed Niki Lauda’s mind in its entirety (or so it seemed) and portrayed the demeanor for which Austrians are known, often compared to that of Germans: straight-and-narrow, extremely logical, forward thinking, and rule followers.

He not only plays an Austrian very well, but he captures important details of Lauda’s exterior, including his voice, accent and mannerisms. More than that, though, he exposes the personality and mind of an otherwise private, more serious driver who worked extremely hard and lived a very calculated life. Brühl also maintains the dignity of very dramatic parts of the film; such as the traumatic accident that left Lauda’s face and lungs burnt so badly he was in the hospital for weeks.

The caliber of Brühl’s portrayal of Lauda becomes abundantly clear when you compare him in this role with the real Niki Lauda. Out of character, Brühl does not resemble Lauda at all. But in this role, Brühl could very well be the real thing. I am no expert in acting, but it takes an impeccable performance to leave a lasting impression in my mind. Time will tell whether Brühl’s acting was as impressive to others as it was to me, but I would not be surprised if he was nominated for awards for this role.

Another element that makes this movie so engaging is the absence of an antagonist. Both Hunt and Lauda—even at their least-likeable moments—are never seen in a good versus evil frame. They are always viewed as rivals, but never enemies, which is an extremely hard balance to strike—especially for such an emotionally charged story.

The acting in this film is superb, but that is far from its only shining feature. The cinematography and visual effects are fantastic. The close-ups of the racetracks and contrast with the natural surroundings enhance the thrill and intensity of the movie. The film was shot digitally, and the visuals bring you into the film.

The music adds just as much depth to film as the acting and cinematography. Hans Zimmer has yet to disappoint with his musical mastery, and Rush is no exception. The soundtrack is phenomenal and elevates the entire story in a way that only Hans Zimmer can achieve.

There is one final piece to Rush that is worth noting: the $53 million budget. This entire film cost only $53 million. To put that in perspective, Cowboys and Aliens (also by Ron Howard) had a $168 million budget. Universal passed on the opportunity to bankroll Rush, which is understandable given that the story does not resonate in America like it does across the pond. Lucky for us, CAA, Cross Creek Pictures and Exclusive Media all contributed to the film. For Howard, this was a huge risk. Many films like Rush are being passed up in Hollywood in favor of big budget movies that practically guarantee a huge return on investment.

All things considered, I must say that for any budget, this movie was absolutely extraordinary and I cannot wait to see it again Friday night. Thank you "Rush" for making me a believer in film and I hope other viewers will be moved just as much as me.

"Rush" premieres in select theaters on September 20 in Los Angeles and New York and opens everywhere on September 27. View its trailer below.

Reach Senior Arts Editor Veronica Werhane here; Follow Veronica on Twitter @vwerhane.