All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Love. Expulsion. Revolution.
Max Fischer, a precocious and eccentric 15 year-old, who is both Rushmore's most extracurricular and least scholarly student; Herman Blume, a disillusioned industrialist who comes to admire Max; and Rosemary Cross, a widowed first grade teacher who becomes the object of both Max's and Herman's affection.
Probably the movie I've seen more than any other, and it still reduces me to a soggy lump by the ending every single time. Wes Anderson's funniest, sharpest, most deeply-felt film, this indelible portrait of a true American dreamer resonates across all boundaries and transcends, even now, its retrospectively-familiar exquisitely composed visuals and snappy soundtrack. Whatever your opinion of later Anderson stuff (I'm wishy-washy on some of it myself), Rushmore's unique magic is irresistible.
Dirk Calloway is really the only one here with a decent head on his shoulders.
I find that the older the Wes Anderson film, the easier it is to review...
This was a time where Anderson's warm and vibrant art style that almost made his film look like plays had yet to develop itself. The Royal Tenenbaums was the best mix of style and substance where Moonrise Kingdom was a little too much quirk and colors for its own good. I had an awful time trying to review both of those because it was hard to pinpoint exactly what I loved with Tenenbaums and what I hated with Moonrise without sounding too generalized or short. I just simply liked one and disliked the other. It was very hard to express why, but I still felt…
"The secret, I don't know... I guess you've just gotta find something you love to do and then... do it for the rest of your life. For me, it's going to Rushmore."
The Royal Tenenbaums has always been my favorite Wes Anderson movie and I always thought it was because it was the first one of his that I had seen, but it can officially move over now because I have a new favorite: Rushmore. This film was so charming, the soundtrack so cool, and the characters so well developed that I was completely in love with it once the credits started rolling. Not only is it my favorite Wes Anderson film, but it also belongs on my all time…
Max Fischer is a nasty little shit. Good thing he's a funny little shit, too.
A few thoughts: For some reason I didn't have this marked as watched - maybe because I was actually smart enough to realize I hadn't offered it my full attention the first time around. Huge mistake (the not-paying-attention part). Murray, as funny as he and his character are, feels a bit wobbly here, as if he's still attuning himself with Anderson's sense of humor (or the other way around). Though leaps and bounds more 'Andersonian' than Bottle Rocket in terms of aesthetic, it feels like the filming schedule for outdoor shoots was determined only to occur on the most overcast, dreary days possible. Very grey.…
Wes Anderson doesn't always do it for me. I've liked most of his output but there has been the odd film that didn't connect with me. I hated "The Darjeeling Limited" but loved "Moonrise Kingdom" and with "The Royal Tenenbaums" on deck for a rewatch I was looking forward to "Rushmore".
Jason Schwartzman has never been better, and here as the mercurial under-achiever Max Fischer he presents what could be Anderson's greatest ever character. Max is an eccentric youngster who has true school pride. Involving himself in so many school activities his grades are suffering and with a scholarship at stake is under pressure to conform. Bee-keeping,stamp collecting,French club, you name it Max is involved. This is independent cinema at…
«I guess you've just gotta find something you love to do and then... do it for the rest of your life. For me, it's going to Rushmore.»
Officially my first Anderson film. And yes, he has a fascinating talent. The soundtrack and the use of it, the performances, and the script: pure delight.
Lovely characters, not irritating caricatures.
Wonderfully chosen soundtrack, not just a predictable indie playlist.
Pathos, not self-pity.
Introspection, not self-obsession.
Endearing-quirky, not annoying quirky.
Love it aside from the choppiness of the cinematography which may or may not be intentional(?)
watched at: home
watched with: self
I wish there was a way I could go back to when I saw this film for the first time and re-experience how it affected me. With those fresh eyes and ears, I could again take delight at hearing The Creation's psychedelic garage-rock classic Making Time pounding out of the theater speakers, thrill to Bill Murray delivering the most nuanced performance of his career, laugh myself sick at the sheer absurdity of Max's stage production of Serpico, marvel at Wes Anderson's deft touch at creating whimsical, yet tragically awkward, characters, and just sit back and absorb that overwhelming sense of magic realism I felt on my first viewing of Rushmore.
But alas, I cannot return to that innocent version of…
Possibly my favorite Wes Anderson film.
Re-watched Rushmore and it seems to get more potent with every watch. A film filled with eccentric, detailed characters. Another Wes Anderson classic.
about a dude who starts off believing that he's alienated because he's superior, then gradually realizes that he thinks he's superior because he's alienated
He visto EXACTAMENTE lo que pensaba que iba a ver.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 168/753