Should we accept the common virtue of safety? Or, sometimes in the future when cars become self-regulated, will we--too stubborn to lose the thrill--reject the disappearance of the human element?

Pushing toward that thrill is at the axis of "Rush," Ron Howard’s superb film about Formula 1 racing of the seventies. At the end of the push, Peter Morgan’s

Malkmus is referring to the bassist/singer for Rush, the legendary [...]