Rushmore

Directed by Wes Anderson, Rushmore follows Jason Schwartzman’s Max Fischer, a precocious prep-school student, as he attempts to keep a friend’s father (Bill Murray’s Herman Blume) away from the object of his affections (Olivia Williams’ Rosemary Cross). Filmmaker Anderson, armed with his and Owen Wilson’s screenplay, delivers a consistently watchable yet thoroughly erratic endeavor that fares best in its briskly-paced and tremendously entertaining first half, as the movie, at the outset, boasts an almost frenetic narrative that’s been augmented with a whole host of appealing attributes and elements – including Robert Yeoman’s striking cinematography, Anderson’s memorable choice of songs, and several above-average, magnetic performances. (Schwartzman’s star-making efforts here remain an ongoing highlight, while Murray’s surprisingly subtle and layered work elevates many of his character’s scenes.) It’s clear, then, that Rushmore does begin to palpably run out of steam once it progresses into its episodic, hit-and-miss midsection, as Anderson’s decision to jettison the first act’s breakneck atmosphere in favor of a more low-key, character-study-like vibe admittedly wreaks havoc on the picture’s forward momentum – which, despite the inclusion of a satisfying (albeit overlong) climax, ultimately does cement the movie’s place as a solid endeavor that feels like it should be better.

**1/2 out of ****