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…
"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.…
Were you in the shit?
Yeah, I was in the shit.
In anticipation of The Grand Budapest Hotel, I wanted to not only experience the few Wes Anderson films I am yet to see, I also wanted to revisit his work that I already hold in high regard. Rushmore is my favorite, slightly edging out the also amazing Bottle Rocket.
I find myself going years between viewings of this fantastic film, but all it takes is the first five or so minutes for me to remember why I love it so.
Wes Anderson grew leaps and bounds as a director, but I don't think he ever topped this script. Incredible momentum and (most importantly, given the three films that followed) focus, coupled with the incredible character that is Max Fisher makes this Anderson's most potent film. A+
" - I saved Latin. What did you ever do?"
'I saved Latin. What did you ever do?'
a brilliant comedy with not annoyingly much Wes Andersonism. loved it!
It may have taken a second viewing but Rushmore has finally grown on me. This film serves as a coming out party for the Wes Anderson we have come to know. Many of his filmmaking trademarks make their debut here, although not as blatantly on display as they would come to be. This film is mostly a lighthearted and comic, displaying quite a wit. The film always has quite a heart that has become typical in Anderson's films. This heart is what gives it depth and sets it apart from it's contemporaries.
There are multiple levels of how annoying this film was. On the first level are the characters. They never felt to really be fleshed out, and there's an attempt, I think, to make them seem to be deep or complex, and it's just not there. They're black boxes that words come out of, but without seeming to really be people. On top of which, many of them are somewhere along a scale of 'insufferable', made worse by problems largely of their own making. Margaret Yang, while not getting much screen time, may be the only genuine sort of character in the whole film.
The pacing of the film is atrocious, and not watching a clock, there was several points I…
This review reportedly contains spoilers. I can handle the truth.
Probably my favorite Wes A. (though it changes depending on what day you ask me) and definitely his most personal. This film represents every major theme (surrogate fathers, unrequited love...) of his oeuvre in its purest, undistillated form. The lead character might just as well be called Wes Anderson.
I love this movie. Max Fischer is one of those beautiful make-believe characters that could ever only comfortably exist in a film - he's a brat, a selfish asshole, and a complete smart-ass. But he's a joy to watch, and even if you can't quite relate to him, I think anyone can relate to his experience, his situation. He's in a state of arrested development, desperate to surpass his peers at Rushmore but terrified at the notion of leaving school. The idea of being like everyone else frightens Max... yet, he spends the film trying to create an identity of his own, as if out of thin air. He's a liar and an asshole, and one wonders why he really…
A typical Wes Anderson experience for me. I find elements really funny (especially Bill Murray and the plays that Max writes), I find elements completely grating, and I've finally pinpointed that I hate all of his male protagonists. Max is certainly supposed to be petulant, but in general I just don't vibe with it.
- 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: 160/739