Reviews

Reading over some of these comments, especially from those cowards who are eager to slam any film that people seem to love just so they can sign it "Anonymous," I'm generally appalled. Contrary to the reviews of certain unscrupulous people, the music for "Rushmore" is not loud. I happen to like the soundtrack very much, but even if it were composed of screeching spider monkeys, I couldn't call it loud, because it isn't. Secondly, while the film does feature smoking, and what I might even call "gratuitous" smoking in that it's not a film about gangsters or Mafia hitmen, there are NO children smoking in this movie. Yes, there are people who hate this movie so much that they will tell people that children as young as 10 are smoking cigarettes in the movie. Not true; the youngest smoker is Jason Schwartzman, who is actually older than his character, Max.

As a final note, I just want to add that everyone has their own personal tastes. I have no problem with the idea that people hate this movie. But when you overstep your right to hate the movie, you are ruining someone else's right to enjoy it. Slandering a film is tantamount to destroying someone else's work. If you hate this movie, fine; I see no reason why other people shouldn't be able to decide for themselves whether they like it or not. It could be that you're simply a brainless boor who has no taste for what a movie can be, and that you're slamming a great film that you couldn't possibly understand. You're better off watching another movie by Kevin Williamson or James Cameron, or perhaps sitting around with your disillusioned Film major friends talking about how no one can match Scorsese. People like you are exactly the reason I dropped my Film major and decided to make films based on my own experience, and not on what some failure of a professor taught me in a lecture class where I never even got to handle a camera.

I'm done now. See "Rushmore;" see any film that looks remotely wonderful to you, and ignore what the nay-sayers may say.

I'm always amazed when I see a film and I can say, "I honestly wouldn't have added anything to that movie to perfect it any more." As an amateur filmmaker often guilty of hubris, I'm very critical of most current films by young filmmakers. Wes Anderson and Owen Wilson, however, are two enormous exceptions to this rule. They've made a brilliant film that rises above all my expectations. "Rushmore" is the best movie with an adolescent protagonist since "Ferris Bueller's Day Off." It's not strictly a movie about high school, however; it's more about the vitality of youth and the allure of a man who truly knows what he wants to do. What Max Fischer wants to do is lead a fascinating life, and that's exactly what he does. Neither about "geek chic" nor "teen angst," the theme of the film is "accomplish your dreams."

The wonderful thing about this film (as well as Anderson and Wilson's first film, "Bottle Rocket") is the balance of understated humor and delightful over-the-top action. The humor isn't based on jokes, but on interesting and believable characters who don't fit into the real world's mold of a successful human. Max is a metaphor for the voice inside our heads who gives us these wonderful ideas--ideas that never work in the real world. They don't always work in his world, either--in fact most of the movie consists of him failing miserably at one thing after another--but when they do, it's nothing short of miraculous. Max makes plenty of mistakes, but he tries so many times that his successes far outweigh most people's. A good point there.

There's good work being done here by the principals--I can't decide which of them I like the most, really, although Anthony LaPaglia's noirish everyday scumbag is the best-written of the three. While the story has its weaknesses, it works fine enough for this sort of unassuming film that tells a story in its own meandering way. Courtney Cox finally comes out of her shell, finally playing a likable character, and she proves a worthy receptacle for most of the camera's adoration. All around, a good date rental for those who won't be put off by the sacreligious plotline.

First off: This is an 80s movie. It contains within it certain aspects of the 80s film genre which may cause you to cringe. A youthful, innocent boy gets corrupted by the feckless rebel; a vicious adult has his own agenda; boy gets seduced by teenage girl who may or may not be the current sex symbol. All generalizations aside, the roles in this movie are well-written and well-played. Val Kilmer is at his absolute best, William Atherton is as sly as Jeffrey Jones is oafish in "Ferris Bueller's Day Off." The supporting heroine is annoying and unneeded, but who needs her when you've got Jonathan Gries to laugh at? All-around fun and plenty of one-liners that'll have you wishing you could be so witty.

You can't watch a movie adapted from Elmore Leonard without falling in love with his characters. The much-debated George Clooney is pretty much at home in this part; he says what he feels, a trademark of any Leonard character, and yet, he's caught by factors he can't control in a dangerous and morally questionable situation. I've always liked his work (because I avoided those films he's despised for), and so if you can't see his face without cringing, I would think twice before renting it. If you're willing to risk it, however, I think you'll be pleased. Albert Brooks and Don Cheadle also turn in good performances, and you won't want to miss the closing scene, featuring a cameo by the most charismatic actor in Hollywood. Trust me.

This offbeat piece intrigued me, not so much for the story itself, but the unflinching way in which Buscemi films his subjects. He's completely brutal in displaying Tommy and his friends as losers. Not slackers, not people with no lives, but actual *losers*, people with sad stories and tragedies hanging about them in tatters. The viewer can't help but empathize with their plight, while also regarding it as pathetic. Don't watch this one with lots of alcohol, or cold and lonely after your wife of seventeen years left you for another woman.

The film's visuals tie in perfectly with its theme, which is the destroyal of a culture by those uncaring forces we call politics. I loved this film on three or four levels, including the beautiful use of metaphor and political allegory, the brilliant acting, and perhaps most importantly, the photography and the images which cause strong emotional reactions in the mind. I can't begin to describe the opening shots of revelers riding in a carriage and firing pistols into the air as a brass band runs behind them playing triumphant marches, or the bombing of the zoo during feeding time, or the fear on the peasants' faces as the monkey crawls inside the tank and begins to punch controls. I hope this whets your appetite to see this hard-to-find movie, because you will *never* forget it.