I’m going to let you in on a secret, an answer to a question that is heard more and more frequently these days: Why do the tastes of film critics and the filmgoing audience differ so much? After all, something so critically lambasted as Armageddon can end up as the top grosser of the year, while something like A Simple Plan can garner glowing reviews and still face an uphill climb to profitability. Of course, exceptions like Titanic happen as well, but usually the critics’ judgment is unrelated to popular appeal.
The answer is the dreaded predictability of most films in this day and age. An average viewer, who goes to the movies once a month or even less frequently might face a standard specimen of any of Hollywood’s standard genres (romantic comedy, action, special effects extravaganza) rarely enough that the redundancy of these films goes unnoticed. For an average film critic, even one as lackadaisical as your faithful servant, watching more than a movie per week can get really boring really fast especially if these movies feel like they were all xeroxed off When Harry Met Sally, Die Hard, or Jurassic Park, all movies that weren’t marvels of originality to begin with.
That’s why the arrival of something like Rushmore feels like a proverbial breath or make it blast of fresh air. Rushmore is an offbeat comedy, an offbeat buddy film, an offbeat romance, and an offbeat revenge story. Or none of these things. Mix up some wildly varying comic elements, combine them with some of most deliciously deadpan acting in recent memory, add highly imaginative and inventive usage of the widescreen format, and get Rushmore, which is just about the least conventional and yet solidly enjoyable movie to come out in the past decade. Continue reading MasterChugs Theater: ‘Rushmore’