---
title: "Rushmore"
year: 1998
kind: "film"
canonical: "https://film.one/film/rushmore"
fi1m_id: "rushmore"
imdb_id: "tt0128445"
tmdb_id: 11545
wikidata_id: "Q1347393"
fi1m_score: 83
critics_score: 79
critics_reviews: 13
published: "2026-09-13"
updated: "2026-09-18T08:38:20.187299+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Rushmore (1998)

Directed by Wes Anderson · 1h 33m · MPA R · Comedy, Drama

## Identity

Rushmore

- **Canonical:** https://film.one/film/rushmore
- **Type:** Film
- **Fi1m ID:** rushmore
- **IMDb ID:** tt0128445
- **TMDB ID:** 11545
- **Wikidata ID:** Q1347393
- **Same entity:** https://www.imdb.com/title/tt0128445/, https://www.themoviedb.org/movie/11545, https://www.wikidata.org/wiki/Q1347393

**Fi1m score: 83** · Critics 79 from 13 reviews

*In a sentence:* Ninety-three minutes with a schoolboy we would cross the playground to avoid, and somehow we were sorry to leave

> Wes Anderson’s *Rushmore* is a sharp, funny school comedy that understands how exhausting a self-appointed prodigy can be. Jason Schwartzman and Bill Murray give it an unexpected sadness, though its careful eccentricity occasionally becomes fussy.

## Synopsis

Jason Schwartzman plays Fischer, a schoolboy with ambitions that extend well beyond his education. Certain of his own importance, Fischer approaches romance and rivalry with a confidence that leaves little room for anyone else’s wishes. Bill Murray is Herman Blume, whose story becomes tangled with Fischer’s, and Olivia Williams plays Rosemary Cross. As Fischer pursues the life he thinks he deserves, the people around him contend with his self-belief, his anger and his difficulty accepting limits. Wes Anderson’s comedy follows a boy intent on being taken seriously, even when he gives others reasons not to.

## Review

Fischer is the sort of schoolboy who makes confidence look like a disciplinary problem. Wes Anderson’s *Rushmore* is a funny, sometimes touching comedy about the trouble such a boy causes when other people refuse to share his opinion of himself. We recommend it even to those who ordinarily have little patience for clever boys being difficult, although a few of its carefully arranged oddities test ours. Anderson allows Fischer to be arrogant, ambitious and romantically unreasonable without assuming that these qualities make him lovable.

Jason Schwartzman plays Fischer with a seriousness that makes the jokes work: this boy cannot see what anyone might find funny about him. Anderson and co-writer Owen Wilson give him the self-belief of someone who thinks wanting something amounts to a qualification. We laughed at his certainty, then became uncomfortable with the insistence of his romantic yearning. Schwartzman’s refusal to soften that confidence makes it possible to feel sorry for Fischer and still want someone to stop him.

Bill Murray’s Herman Blume gives Schwartzman an adult presence worthy of all that determination. Murray’s deadpan delivery allows a remark to land without asking for a laugh, and his weariness makes Fischer’s energy seem still more excessive. We can see why the boy’s self-importance might be funny to an older man, and why it might also be painfully familiar. Their pairing keeps the film from settling into the simple business of watching an obnoxious child receive his comeuppance.

Robert D. Yeoman’s photography gives the visual jokes the same care that the actors give the dialogue. The framing gives Schwartzman room to be funny without making every moment depend on his expression. David Wasco’s production design contributes to the carefully arranged surroundings; we occasionally wanted the place to look a little less supervised. That fussiness is a real limitation, because Anderson sometimes lets us notice the effort of setting up a joke before we have laughed at it.

David Moritz’s editing gives the comedy an economy that matters when the central character can be this exhausting. At 93 minutes, the film spends little time waiting for us to appreciate its cleverness, and the jokes benefit from that briskness. Mark Mothersbaugh’s music helps keep the peculiar humour buoyant without making the sadness feel like an interruption. The score lets the film acknowledge Fischer’s unhappiness without asking everyone to become solemn about it.

Olivia Williams, as Rosemary Cross, supplies an assurance that usefully checks the men’s claims on our attention. She makes the romantic material feel less sealed inside Fischer’s head, but Anderson and Wilson still give us more to understand about the men than about her. That imbalance matters in a film so alert to male self-absorption. Williams holds our interest, though the writing is happier pursuing Fischer’s unreasonable desires than giving her comparable weight.

Against the usual pleasures of a school comedy, *Rushmore* makes an unusually persuasive case for spending time with someone we would dislike in person. Anderson understands the attraction of a boy who refuses to be embarrassed, and keeps enough of Fischer’s anger visible to make that attraction uncomfortable. The film’s melancholy comes from recognising behaviour that adults have not necessarily left behind. Try it if painfully confident people make you laugh; expect to wince when the confidence starts to look familiar.

*Fi1m score 83, published 13 September 2026.*

## Straight answers

**Is Rushmore worth watching?**

*Rushmore* is worth watching for anyone who can laugh at a painfully confident schoolboy, and we scored it 83. Jason Schwartzman and Bill Murray give Wes Anderson's comedy a sadness we did not expect, and at 93 minutes it never waits around for applause. Its carefully arranged oddities occasionally look fussy, and Olivia Williams is given less to work with than the men.

**How long is Rushmore, and what is it rated?**

*Rushmore* runs 1h 33m and is rated R by the MPA in the US. It is a comedy and drama film.

**Where can I watch Rushmore in the US?**

*Rushmore* is available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Rushmore, and is it suitable for children?**

*Rushmore* carries a 15 certificate in the UK, so it is not for children, but nothing in it is frightening or bloody. The comedy turns on a schoolboy's anger and his unreasonable romantic pursuit of a teacher, which is uncomfortable rather than violent. Older teenagers who can sit through a difficult character will be fine; the squeamish have nothing to fear.

**How does Rushmore compare to Harold and Maude?**

*Rushmore* is the gentler and more tidily made of the two, while [*Harold and Maude*](https://film.one/film/harold-and-maude) is darker, ruder and less concerned with propriety. Both follow a difficult young man into an unlikely romance, but Wes Anderson's film keeps its jokes carefully arranged where Hal Ashby's lets them run loose. Choose *Rushmore* for polish and sadness, *Harold and Maude* for morbid nerve.

**What should I watch after Rushmore?**

After *Rushmore*, try [*Harold and Maude*](https://film.one/film/harold-and-maude) (1971, Fi1m 81): Another difficult young man finds romance, with darker jokes and less propriety. Then [*Election*](https://film.one/film/election) (1999, Fi1m 86): School ambition becomes a nastier business, with fewer excuses for its participants; and [*Submarine*](https://film.one/film/submarine) (2010, Fi1m 82): Another self-important schoolboy mistakes elaborate planning for an understanding of other people.

### Reviews we read (13)

- **Empire**, Caroline Westbrook (90/100, inferred): The film is an offbeat and off-centre high-school comedy that turns the genre on its head with a unique protagonist and acerbic one-liners. It features a superb cast, including standout turns from Jason Schwartzman, Bill Murray and Olivia Williams, and is likely to attract a cult following. [Read](https://www.empireonline.com/movies/reviews/rushmore-review/)
- **Sight and Sound**, Richard Kelly (90/100, inferred): The critic praises Anderson and Wilson as among the best things to happen to American film, highlighting the film's unsettling self-assured protagonist, lovely romance, and inspired offbeat soundtrack. Rushmore is called an immediate American classic with terrific performances, especially from Schwartzman, Williams, and Murray. [Read](http://old.bfi.org.uk/sightandsound/review/200)
- **Slant Magazine**, Chris Cabin (90/100, inferred): The critic calls Rushmore a sublime comedy and Anderson's first masterpiece, praising its sincere, personal take on ambition, grief, and coming-of-age themes told from the ghost's point of view. He singles out the robust performances, especially the battle between Murray and Schwartzman, for evoking varied inner lives amid the humor and emotional depth. [Read](https://www.slantmagazine.com/dvd/rushmore/)
- **The Guardian**, Andrew Pulver (90/100, inferred): The critic calls Rushmore a genre-defying marvel that switches between outrageous humour and genuine pathos. It is praised as a finely-judged parable on the line between self-delusion and reality, aided by outstanding performances from Jason Schwartzman and Bill Murray. [Read](https://www.theguardian.com/film/1999/aug/20/4)
- **The New York Times**, Janet Maslin (NYT Critic’s Pick): The critic praises the film's bright, spiky portrait of an ambitious schoolboy tycoon-wannabe and its skewed, hilarious take on cutthroat boyhood rivalries and comeuppance. [Read](https://www.nytimes.com/1998/10/09/movies/film-festival-review-most-likely-to-succeed-or-annoy.html)
- **The New Yorker**, Anthony Lane (85/100, inferred): The review celebrates the film's short, smart comedy and its model of economy, highlighting the touching performance of the nerdy prodigy protagonist and the inspired pairing with Bill Murray's character. [Read](https://www.newyorker.com/magazine/1998/12/07/renaissance-teen)
- **Variety**, Todd McCarthy (80/100, inferred): The critic calls it a wickedly funny and bracingly fresh high school comedy with precise writing, shooting and performances, singling out the lead turn by Jason Schwartzman and the distinctive visual style. [Read](https://variety.com/1998/film/reviews/rushmore-rocket-men-carve-dark-brainy-comedy-1200455203/)
- **RogerEbert.com**, Roger Ebert (3/4): The critic praises the inventive, offbeat world-building and strong performances, especially Bill Murray's, but finds the story loses momentum when the plot turns contrived and mean-spirited. [Read](https://www.rogerebert.com/reviews/rushmore-1999)
- **The Hollywood Reporter**, Frank Scheck (70/100, inferred): The review praises the film's stylish, quirky comedy and strong characterizations, especially Jason Schwartzman's arrogant Max and Bill Murray's deadpan performance as Blume. It notes some preciousness but highlights the witty screenplay, visual gags, and appealing supporting cast. [Read](https://www.hollywoodreporter.com/movies/movie-news/rushmore-review-wes-anderson-movie-1235719144/)
- **Time Out**, TCh (70/100, inferred): The review describes a peculiar, poignant comedy with an outstanding character turn from Murray as Blume. It questions the bemusing nature of Max, part Ferris Bueller and part Jay Gatsby, whose romantic yearning edges toward psychosis. [Read](https://www.timeout.com/movies/rushmore-1998)
- **Los Angeles Times**, Kenneth Turan (40/100, inferred): The review highlights Wes Anderson's distinctive sensibility and the film's ambitious eccentricity along with excellent supporting turns, particularly from Bill Murray, but criticizes the central character as ultimately too repellent to engage with fully. [Read](https://www.latimes.com/archives/la-xpm-1998-dec-11-ca-52764-story.html)
- **Consequence** (80/100, inferred): The critic views Rushmore as one of the preeminent coming-of-age films of the 1990s that has aged well due to its wisdom about young and old men, its blend of dark comedy and melancholy, and its understanding of the protagonist's self-obsession and anger. It highlights the film's influence, stylistic hallmarks like the score and photography, and its portrayal of growing up without easy answers. [Read](https://consequence.net/2018/10/classic-film-review-rushmore/)
- **Paste**, Craig D. Lindsey (80/100, inferred): The critic initially found the film merely okay but upon revisiting appreciates it as an authentic portrait of lonely, brokenhearted people. He praises its surreal yet honest take on adolescence compared to later teen films. [Read](https://www.pastemagazine.com/movies/wes-anderson/rushmore-wes-anderson-jason-schwartzman-bill-murray)

## Details

- **Director:** Wes Anderson
- **Director:** Wes Anderson
- **Writer:** Wes Anderson, Owen Wilson
- **Cinematography:** Robert Yeoman
- **Editor:** David Moritz
- **Music:** Mark Mothersbaugh
- **Production design:** David Wasco
- **Producer:** Barry Mendel, Paul Schiff
- **Cast:** Jason Schwartzman as Max Fischer; Bill Murray as Herman Blume; Olivia Williams as Rosemary Cross; Seymour Cassel as Bert Fischer; Brian Cox as Dr. Nelson Guggenheim; Mason Gamble as Dirk Calloway; Sara Tanaka as Margaret Yang; Stephen McCole as Magnus Buchan
- **Runtime:** 1h 33m
- **Certificate (MPA):** R
- **Release (the US):** 19 February 1999
- **Genres:** Comedy, Drama
- **Also in:** [Films where the soundtrack is the real star](https://film.one/collections/soundtrack-is-the-star.md)
- **Budget:** $9 million
- **Box office:** $17 million

## Where to watch in the US

- Amazon Prime Video: rent $3.99, hd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $9.99, sd
- Apple TV: buy $9.99, sd

*Checked 2026-09-13.*

Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, EC, ES, FR, GB, GR, HK, HU, IE, IL, IT, JP, MX, NL, NZ, PA, PE, PL, PT, RO, SG, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Harold and Maude* (1971), Fi1m 81: Another difficult young man finds romance, with darker jokes and less propriety — [Fi1m page](https://film.one/film/harold-and-maude.md)
- *Gregory's Girl* (1981): For adolescent romantic certainty gently corrected by people with more sense
- *Election* (1999), Fi1m 86: School ambition becomes a nastier business, with fewer excuses for its participants — [Fi1m page](https://film.one/film/election.md)
- *Submarine* (2010), Fi1m 82: Another self-important schoolboy mistakes elaborate planning for an understanding of other people — [Fi1m page](https://film.one/film/submarine.md)
- *Good Morning* (1959): Children make adult self-importance look ridiculous, with quieter jokes and careful compositions

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/rushmore