Rushmore (1998) // The Royal Tenenbaums (2001)

Wes Anderson is easily one of my favorite directors.  His unexpected views are always a delight.  Each of his films are a personal favorite.  Here are only two. 

Rushmore (1998)
Max Fischer (Jason Schwartzmann) is a sophomore at Rushmore Academy. Preferring to engage in extracurricular activities, Max finds himself on academic probation. Rushmore is threatening to fail him. Max befriends the father of his fellow students, Herman Blume (Bill Murray) and an odd relationship begins. Being expelled from Rushmore doesn’t keep Max from falling in love with his former teacher, Ms. Cross (Olivia Williams). It’s unfortunate, because Herman does too.

The understated performances make this movie. Schwartzmann and Murray play against each other wonderfully. They are essentially the same character at a different stage in life. Max is a naïve, overachieving and often pompous young man while Herman is a wealthy pompous old fart—both are looking for validation and their place in the world. Engaged in tug-of-war for the same woman’s heart, Schwartzmann and Murray’s roles are simultaneously odd, fun, and delightfully nuanced.

Writer/director Wes Anderson has created a beautiful film with understanding and sympathy for the adolescent—albeit characterized—experience. Every element of the film falls into place creating an intricate weave of cinematography, dialogue, settings, and score. It’s quite an experience.

This was the second of Anderson’s films for me. I watched Rushmore only after falling in love with The Royal Tenenbaums.  The Tenenbaums were most first exposure to Wes.  For that reason, this film is my favorite.

***

The Royal Tenenbaums (2001)

The Tenenbaums are unlike any family you’ll ever know and this is their dysfunctional story.

Alec Baldwin narrates the story of Royal Tenenbaum (Gene Hackman). Royal and his wife Etheline (Angelica Huston) have three children: Chas, Ritchie, and Margot. Royal's lack of interest in his children is the cause of his separation from Ethel. He leaves; as the years pass the children have become prodigies under their mother’s guidance.

Many years later and after hearing the Tenenbaum accountant is moving in on his wife, Royal feigns terminal cancer in effort to regain all that he has lost.

The diagnosis of cancer helps bring the errant former prodigies home. Chas (Ben Stiller) started buying real estate in his early teens and had a preternatural understanding of international finance. Now, a widower, he is struggling to come to grips with the loss of his wife in a tragic plane crash. Chas has become a safety freak and returns to the Tenenbaum family with his two boys in tow after deciding their apartment needs additional sprinklers and security. Ritchie (Luke Wilson) was a tennis phenom at an early age. After losing a game, Ritchie inexplicably leaves the game. He spends his days on a boat wandering on the high seas (for no apparent reason) until the news reaches him. Margot—she’s adopted—was a brilliant playwright and a smoker at twelve. She returns to the family home upon hearing of Ritchie’s arrival.

Oh… it gets better my dear friends. The colorful supporting cast includes Owen Wilson, Danny Glover, and Anderson muse, Bill Murray in memorable roles.

The Royal Tenenbaums is extremely well played. Writer/director Wes Anderson’s screenplay is top-notch—subtly outrageous and quirky. Physical comedy, agile dialogue, and brilliant chemistry are just the beginning. Add an unusually eye-catching production including oddly framed chapter introductions and assaulting opening credits, and plotlines advancing to the tunes of The Beatles, Bob Dylan, The Clash, The Velvet Underground, and The Rolling Stone… well, we got emotional resonance, too.

As I see it, Anderson essentially let’s Hackman and his cohorts run (cleverly) amok. But amid all the seeming chaos is the realization that family—no matter the dysfunction—is what life is all about.

Alice in Wonderland (2010)

Forget everything you know about Alice and immerse yourself in this fantastical tale. Thanks to the ever-imaginative Tim Burton, Underland is like nothing you’ve ever seen.

19-year-old Alice (Mia Wasikowska) travels through Underland where the people and things seem strangely familiar. Along the way she find her muchness, the Mad Hatter (Johnny Depp), the Cheshire Cat, the evil Red Queen (Helena Bonham Carter) and her sister, the White Queen (Anne Hathaway).

This film has phenomenal casting. It's a hodge-podge of well-known names and their voices. Newcomer Wasikowska is pitch-perfect. She is equally child-like and womanly. Ultimately the weight of the film falls on her thin shoulders and she is superb. Christopher Lee cameos. Alan Rickman, Stephen Fry, Imedla Staunton, and Timothy Spall lend their distinct voices to inhabitants of Underland. Helena Bonham Carter is perfectly evil as the sadistic Queen and her henchman; one-eyed Stayne (Crispin Glover)—the Knave of Hearts adds just the right touch.

Johnny Depp gets his own paragraph. The Madness is spot-on; and Johnny’s mix of Scottish brogue (?) when mad is smart. His manic hair, eyeballs, and randomness threaten to over take the film at times, but his character adds wonderfulness.

The CG is a blend of steampunk and Burton’s trademarks. There’s always something interesting to look at. Whether its Hatter’s bobbin bandolier, the White Queen’s chess pieces, Absolam, or the Jabberwocky—you will be fascinated.

Burton borrows Lewis Carroll’s books and reinvents them. It’s amazing to see him build an emotional connection to an otherwise series of random events. Burton ties our characters together—enhancing them—and creates a brand new world. Danny Elfman delivers with another delightful score. He always knows where to punctuate, subtly enhancing the film.

As I see it, Tim Burton wins again. Though is canon of work is for a select few, mark Alice in Wonderland as one to see. I can’t imagine anyone being disappointed.

The Imaginarium of Dr. Parnassus (2009)

A trip to Dr. Parnassus' Imaginarium is a guaranteed good time, but only for those willing to let go their conscience selves and in turn be enveloped by remarkable multi-faceted performances from Christopher Plummer, Tom Waits, Heath Ledger, Johnny Depp, Colin Farrell, Jude Law, and Lily Cole.

Watching the Detectives (2007)

Vapid comedy with a psuedo warning for movie nerds.  (Live life, don't watch it.) Too bad Lucy Luo stars thereby negating any redeeming qualities.

Henry Poole is Here (2008)

Henry Poole is an odd man with a secret. Diagnosed with rare disease, he has only a few weeks to live. Rather than live it up, Henry (Luke Wilson) removes himself from life and partakes of an endless supply of pizza and liquor. His desire to left alone is interrupted by a devoutly religious and meddling neighbor Esperanza (Adriana Barraza) who spies a miracle on the stucco of Henry’s home. Much to Henry’s dismay, Esperanza spreads the word of this Holy sign making Henry’s home a shrine.

Henry Poole is Here is a character study of man with no hope finding something to hope for. Melancholic but inspirational, the film is nicely balanced emotionally and is subversively charming The progession of events is believably, if odd.

As I see it, Henry Poole is Here is a gentle little film that entertains and could actually be thought-provoking if you let it. The film doesn’t tell us what to believe insomuch as showcasing the strength found in faith.

Moon (2009)

Austere comes to mind when describing Duncan Jones’ directorial debut. The son of famed glam rocker David Bowie {yes, that’s why I queued it}, Jones’ aesthetic is a functional, cold, and perfectly claustrophobic setting for Sam Bell (a superb Sam Rockwell), a contracted astronaut with Lunar Industries.

Sam’s lonely three-year stint on the moon base is about up when he begins to see things. He enlists the help of his only companion, a robot named Gerty, to discover what is real.

Despite my faulty reasoning for seeing it, Moon is a fresh, remarkable bit of science fiction very much—though I hate to say this—in the vein of 2001: A Space Odyssey sans the tweaking. Sam Rockwell carries this film, cultivating a feeling of isolation, anxiety, and confusion.

I hesitate to say more, but the success of this film depends on the interaction with the viewer. The styled production does a lot to create the setting for insanity. The moon base Sarang looks like something from Unhappy Hipsters with its cold expansive bays. Think I’d go crazy too if every meal must originate from a compartmental Styrofoam tray and nothing filled my days by model making.

All details aside, it’s Rockwell’s Sam that makes Moon engaging. We care for him, but most importantly we don’t want to be him—isolated from society and left to our own devices. And just so you don’t think I’m too stuck-up, there are a few glaring goofs that interject unintentional humor. Helping to ground the art herein, I think.

As I see it, Moon, despite several references to Kubrick’s classic, stands on its own. The combination of Jones and Rockwell delivers a quiet memorable piece of sci-fi that demands more from its audience that most.

31 More Days of Horror: Willard (2003)

Hypnotic opening credits are just the beginning to this atmospheric and moody creature feature. Willard Stiles (Crispin Glover) is a shy, but psychotic soul whose only friends are rats. When Socrates is murdered, Willard seeks revenge on The Man.

Deceptively simple, Willard doesn't rely on gore to score. Instead we are introduced to an introvert who has discovered a rat infestation and turns it into a true friendship with beady-eyed buggers. In seeming thanks for his friendship, Socrates and Ben are willing to do his bidding.

One element makes this movie: Crispin Glover. With untold emotionality, Glover is perfectly creepy. Those steely eyes, that sadistic gleam, those twitches, that hunch--it chills the soul.  His evolution from sick boy to masterful freak is a brilliant play.

Willard's revenge is ultimately directed at his cruel boss, Mr. Martin (R. Lee Emery). Martin berates and dehumanizes Willard at every turn. Embolden by Willard's lack of defense {Glover's slow simmer is palpable} Martin continues to bully until Willard is forced to turn to Ben. Ben {the rat, mind you} views this opportunity to cement his role in Willard's life and exacts his pound of flesh from Mr. Martin on Willard's behalf.

Every other element is a compliment to Glover. The modest production is dark and aged. Macabre, if you will. Willard is just a bizarre, cultish film with an ending to die for. It's revolting and fascinating all at the same time. Ultimately, the film works on two levels: as a black comedy or an allegory--you decide. Either way, you won't be disappointed.

31 More Days of Horror: Teeth (2006)

A nice dollop of cheese is served alongside this morbidly interesting tale of vagina dentate. Campy and shocking, Teeth is centered on an ancient myth that is bound to make every viewer uncomfortable.

Dawn (Jess Weixler) is a virtuous high-school student whose abstinence isn’t 100% voluntary. Enter Tobey who causes Dawn to have ‘impure’ thoughts. After a swim, Tobey’s libido gets the best of him and the real reason for Dawn’s abstinence becomes apparent. Her vagina is lined with shark-like incisors that engage whenever she’s ‘mistreated’ causing her offender’s appendage to become detached.

Overcoming the initial shock and after rediscovering her body (through Google-esque means, no less), Dawn begins to use this evolutionary anomaly to her advantage. At that, the film morphs from into a revenge flick as Dawn plots against her incestuous big brother (Nip/Tuck’s John Hensley) and any other who dare enter her pants without permission.

Teeth is filled with absurd moments and graphic imagery. Writer/director Michael Lichenstein skims the surface of the vagina dentate myth, but thoroughly delivers the castration angle. The dialogue is oddly funny; the events are often surreal. Strangely enough the balance of black humor to penile abuse works. The film never seems to cross that torture porn/exploitive line.

Part horror, part comedy and altogether weird, Teeth is an interesting piece for gore fans.

Okie Noodling (2001)

It was just by chance that I caught this documentary on my local PBS station. It was by sheer fascination that I actually watched it.

Noodling--a type of fishing that requires a participant to use his/her hand to blindly feel along river banks and beds in hope that some prehistoric sized catfish will bite you--is quite a sight! The oddly endearing doc exposes a cultural phenomenon in the Midwest. It's actually banned in most states, but here, it is celebrated.

What I found most fascinating where the people. There was a genuine passion for this unusual event; the interviewees were consumed by the thrill of grappling in murky water will God knows what. One gentlemen even states his priorities as family, farming, and noodling--in that order.

Okie Noodling highlights Oklahoma with it's noodling tournament and the generations of men that have engaged in the 'sport'.

As I see it, Okie Noodling is an authentic piece of Americana perfectly preserved for posterity. It's an unforgettable eccentric tale that celebrates the passion of a people.