|Starring||Jason Schwartzman, Bill Murray, Brian Cox|
18 and up; Children 6 and up will be allowed only with a parent guardian. No children under the age of 6 will be allowed.
As part of the Alamo 100, this screening will feature free collectible RUSHMORE pins while supplies last.
Love. Expulsion. Revolution.
Fifteen-year-old Max Fischer (Jason Schwarzman) is a poor student with big dreams. He’s highly eccentric and overly ambitious. He loves extracurricular activities and is a compulsive liar (a barber is not a brain surgeon!). His best friend is an idiosyncratic 50-year-old business tycoon (Bill Murray), but his true love is the private academy he attends, RUSHMORE...that is until he finds love in the form of first grade teacher Mrs. Cross. However, when his best friend falls for the same girl, all becomes fair in love and war.
Dripping with what has become known as “Wes Anderson style” and featuring a soundtrack and an oddball supporting cast you’ve come to love with his films, RUSHMORE blew onto the scene before anyone knew what to expect from Wes Anderson. Fresh off his hilarious debut, BOTTLE ROCKET, Anderson was poised for a sophomore slump. Instead, armed with a bigger budget and a revitalized Bill Murray, he delivered the one-two knockout punch of a director demanding your attention.
RUSHMORE may be a coming-of-age movie, but it has proven to be a movie for the ages as none of its potency has been lost to the patina of time. Love, loss, and high-school are eternal themes that connect us all, and Anderson has a special knack for setting his films in an indeterminate time period that provides a sense of agelessness to them. Murray said, "the struggle to retain civility and kindness in the face of extraordinary pain” is something that drew him to the film and ultimately had him volunteering to work for scale and paying for the expensive helicopter scene himself.
This film may have introduced us to Jason Schwartzman and gave a new career trajectory to the endlessly enjoyable Murray...but it also has probably the most prolific use of the word “handjob” I’ve ever seen in a film. “She was my Rushmore, Max.” “I know. She was mine too.” (Greg MacLennan)