All the films from all the editions, including those subsequently removed, presently totalling 1154. 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…
Wes Anderson is beginning to grow on me as a top director.
Here we have the same quirkiness of a character that pulls you in from the start. You begin to hate him but further down the line you begin to understand him and he becomes more liked. Jason Schwartzman who plays Max is perfect to play him and I don't think the half of this movie wouldn't had worked if it wasn't for him.
Bill Murray and Wes must of hit it off through this movie and I don't mean falling in love with each other. He has appeared in every Wes movie since.
I think after the film 'Ed-wood' Bill has shown he can act series but still…
"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.…
Sweet, annoying, charming, pretentious, heroic, petty, childlike and very funny. That pretty much sums up Max and Rushmore; his journey into adulthood, and self-discovery.
A beautifully shot film; Anderson frames and composes every shot with thought and style.
Sic transit gloria
Here is another masterpiece from the Master of Raw Symmetrical Cinema scenes. Yes, It is Wes Anderson. I don't even understand how could I miss this 1998's masterpiece for this long.
When I started watching it I thought it might be not that good considering it's more than 16 years old but I'll do it for you Wes Anderson because I was never disappointed in your work. Well, It's far better than I expected it to be. I'm glad I had time for this movie between two animated DC superhero movie.
The cinematography is flawless. There aren't that much clear, symmetric and a little bit awkward scenes as in his latest movies but it still has some nice shots.
Schwartzman is fantastic here, but it's Bill Murray's understated performance that keeps things together. A little simplistic compared to future Anderson films, but still very enjoyable.
Lighter on the meaningful drama than some of Wes Anderson’s later films, this feels like more of a comedy through and through. And it’s a good one, too, with the director’s distinctive style perfectly fitting this strange coming-of-age tale. Great performances from the cast (especially Bill Murray) strengthen the sharp-witted script and sell the moments of odd poignancy Anderson’s films are known for. Rushmore’s a solid movie, it has a unique appeal but ultimately isn’t as confident or entertaining as Anderson’s later work.
I've had this movie sitting on my desk for the longest time. I don't know why I haven't watched it until today. I think my favorite part of the whole movie was the ending. What a beautiful ending.
The attention to detail that Wes Anderson puts into every single one of his films is absolutely astounding. I love how Wes Anderson makes a very visual experience for the audience. There are so many moments in this film that you could make a wallpaper out of. Almost every scene has a unique appearance. They are also very visual because not everything is told through something that the actor says. There is a lot of story telling simply through visual means.
Probably my favorite Wes Anderson film at this point, though it's right in front of TENENBAUMS and ZISSOU and I haven't seen DARJEELING yet.
Wes Anderson obviously has established himself as having one of the most recognizable styles in movie making right now. Style is huge in my book, a very important part of what makes a great movie great usually. And directors who can cement themselves into a style usually have my praise for that. That being said, I'm going to stomp on a lot of toes here when I say that I'm not the biggest fan of Anderson's movies. I don't particularly dislike them, I just haven't found them to be my style for the most part. I enjoy watching some his later work a bit more but his older stuff, such as this is less for me. I can definitely respect…
if only wes could marry the charm and emotion with the style so beautifully in the darjeeling limited etc. as he did in this.
the musical transitions are spectacular. a film tartly uncanny in its cleverness and affection. Jason Schwartzman performs obsessiveness with just the right amount of subtlety. Bill Murray is somehow both potent and subdued. I did not even recognize Brian Cox. I don't know how Wes Anderson was able to get a rather consistently overcast outdoor ambience in Houston. the careful patience of the film's pacing is well-disguised.
- 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: 159/738