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.
Dirk Calloway is really the only one here with a decent head on his shoulders.
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.
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…
This is probably one of the few films I enjoy that I have a strong personal history with. A complicated history that makes me feel unreasonably attached to the film. Most movies I liked when I was younger I rewatch and don't like. I don't have a lot of respect for my taste as a youth, especially as a teenager. This is a film that I have liked, more or less, ever since I saw it. I loved it as a teenager when I first saw it (I think it was the first Criterion DVD I ever purchased), I liked it just fine in my early-to-mid twenties (even as my viewing of The Life Aquatic caused me to question Anderson…
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.…
Seeing this again for the first time in years. Still fantastic and I remember realizing at the time Anderson was going to be a filmmaker who would make a tremendous impression on me. I don't think I first saw this in the theater, but it was early enough that I was excited for The Royal Tenenbaums a few years later.
Tenenbaums is still my favorite Anderson, and The Grand Budapest Hotel is up there, but Rushmore is still a modern classic. In hindsight it's surprisingly very Andersonian, in many ways just as much as Tenenbaums, the way that the scenes play out like small productions and Max says carefully scripted, oddly off-kilter things to anyone who will listen. But then, everyone is just a character in the play that is his life, and even when he's at his lowest he retains a sense of dignity and control that could only happen in a film like this.
Wes Anderson is a director I am not nearly as familiar with as I want to be. But I finally checked out Rushmore and I am so glad I did because it was amazing! Wes Anderson's trademark quirky humour was extremely prominent here and it worked well. The odd relationships between Max (Jason Schwartzman), Ms Cross (Olivia Willaims), and Mr Blume (the one and only Bill Murray) was so interesting to watch.
Rushmore was a great charming film that I would recommend to everyone.
Maybe the coolest movie ever?
IS THAT LATIN?
One of Anderson's best, filled with some bittersweet moments of pure hilarity, powerful performances and a genuine affection for the bizarre. Often painful to watch, but honest in it's portrayal of young man's first love.
at least it's not as pretentious as grand budapest hotel
sic transit gloria
Confident, brilliant, very funny. Original, despite its deep debt to The Graduate. Bill Murray carries it. All the positive things I’ve heard about this movie are true. That being said, the sociopath routine wears pretty thin, in narrative terms. It felt like there were an extra fifteen minutes tacked on at the end. (Personal preference: end it at the kite scene.) Anderson excels at fast-paced concept pieces like the prank war, but a number of the simpler story scenes felt clunky, poorly acted in a way that clearly started with the director. Still, it’s one of Anderson’s stronger films. In technical terms, he wouldn’t top it until Grand Budapest Hotel.
Much better on rewatch. How could I ever deny this movie positive words?
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…