With a plan to exact revenge on a mythical shark that killed his partner, oceanographer Steve Zissou rallies a crew that includes his estranged wife, a journalist, and a man who may or may not be his son.
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
F. Murray Abraham,
The banality of crime. Two young men, Dignan and Anthony, walk along talking about "Starsky and Hutch." They're on their way to burglarize a house. After, they go to a café, play some ... See full summary »
Max Fischer is a precocious 15-year-old whose reason for living is his attendance at Rushmore, a private school where he's not doing well in any of his classes, but where he's the king of extracurricular activities - from being in the beekeeping society to writing and producing plays, there's very little after school he doesn't do. His life begins to change, however, when he finds out he's on academic probation, and when he stumbles into love with Miss Cross, a pretty teacher of the elementary school at Rushmore. Added to the mix is his friendship with Herman Blume, wealthy industrialist and father to boys who attend the school, and who also finds himself attracted to Miss Cross. Max's fate becomes inextricably tied to this odd love triangle, and how he sets about resolving it is the story in the film. Written by
Gary Dickerson <slug@mail. utexas.edu>
A shot of Max Fischer sitting on a go-kart wearing a pair of goggles (and featured on the back cover of the UK DVD) is a recreation of a photograph taken in 1909 by French photographer Jacques Henri Lartigue, a child prodigy who started taking photographs at the age of 6. The two people go carting in the background are director Wes Anderson and Owen Wilson. See more »
Ms. Cross says, "These were just born", referring to a tank of full-grown neon tetras. See more »
If, and only if, both sides of the numerator is divisible by the inverse of he square root of the two unassigned variable.
Good. Except when the value of the "X" coordinate is equal to or less than the value of one. Yes Isaac?
What about *that* problem?
Oh, that? Don't worry about that.
I just put that up as a joke. That's probably the hardest geometry equation in the world.
Well, how much extra credit is it worth?
Well, considering I've never seen anyone get it right, ...
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"Sic Transit Gloria Mundi": So the glory of this world fades
Rushmore was the first Wes Anderson film I saw, and I didn't think much of it the first time. I used to think that Royal Tenenbaums was Anderson's first good film. I thought Bottle Rocket wore its rookie status on its sleeve; I thought Rushmore was flawed; and I thought Tenenbaums finally showed that Anderson had honed his craft and he would start making great films. I then re-watched Tenenbaums and found it to be even more satisfying on additional viewings. I realized that Anderson had actually crafted one of those rare pieces of cinema that reveals itself more and more upon repeat viewings. So I of course decided to give Rushmore a second look.
Now that I've had a chance to see the DVD, I've had a much different experience viewing the film. Perhaps because I saw it on Pan and Scan VHS previously? Or perhaps because Anderson's vision requires an adjustment period?
Some people will never like Anderson's films. They simply will not appeal to those out there who want clichéd Hollywood fodder. Some people will love Anderson's films from the moment they see them. Others, like myself, will need to see the films more than once to truly appreciate them. Anderson breaks convention in ways no one has done before - One has to understand that his films are deep where most films are shallow, and shallow where most films are deep. This will throw A LOT of people off, as evidenced by many of the comments on the message boards. Anderson's films begin where others end. In Rushmore, we see Max's fall from grace, not his climb up to become head of every club in his school. In Tenenbaums, we see the aftermath of the child prodigies, not their glory years. Again, this will throw a lot of people off, and indeed I heard this criticism of Tenenbaums quite a lot. Anderson constructs the world of his films around a cinema storybook. They are episodic, told in chapters. Some will find Anderson at first glance to be a rather egotistical filmmaker, as I once did. However, upon second glance, you can begin to see the rich text woven deeper in the films that might be hidden beneath quirkiness or drastic breaks from convention. The first time I saw Rushmore, I felt shock, embarrassment and confusion (Mostly at Max and Rosemary's bizarre interaction). I was lost and unfamiliar with this world Anderson has created. The second time I saw the film I felt Passion, Love, Tragedy and ultimate Redemption. I found the heart in Anderson's film.
If you felt Rushmore was not all it could have been the first time you saw it, please give it another chance. You'll find which side you fall on.
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