• R, 1 hr. 39 min.
  • Drama, Comedy
  • Directed By:
    Wes Anderson
    In Theaters:
    Mar 7, 2014 Limited
    On DVD:
    Jun 17, 2014
  • Fox Searchlight

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The Grand Budapest Hotel Reviews

Page 1 of 175
MANUGINO
MANUGINO

Super Reviewer

July 21, 2014
A brave work of art that leaves you dangled over its simple complexity.

Good Film! In this film, director Wes Anderson creates his own universe, full of colourful characters, old-world charm and witty one-liners. The nice thing about creating your own universe is that you can make it look perfect. Every shot, every little detail and every set is flawless. Ralph Fiennes steals the show as the sophisticated Gustave H., who never despairs, even in the most unfavourable circumstances. He is supported by a large number of star actors, who are sometimes almost unrecognizable. Because of the amount of support actors, some of them are a bit underused. Tilda Swinton gets rather little screen time, as does Harvey Keitel. The film moves forward at a breakneck speed. You have to be very alert in order not to miss something. The plot is not always very easy to follow, and the dialogue is fast. And there are the great camera angles and the wonderful detailed sets to pay attention to. I think by seeing the film a second time you can discover lots of things you didn't notice the first time.

GRAND BUDAPEST HOTEL recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune -- all against the back-drop of a suddenly and dramatically changing Continent.
Christian C

Super Reviewer

July 20, 2014
Quirky, funny and thoroughly entertaining with a wonderfully over the top cast. Packed with visual and comedic delights you don't want to miss. Everything's grand about The Grand Budapest.
Apeneck F

Super Reviewer

October 23, 2013
I am ever suffused, watching a Wes Anderson film, with a feeling akin to watching Charlie Chaplin's tramp character working at eating a shoe: something horrible is being remarked on, yes, but in an inventive, comedic way wherein none of the sadness is lost. In this effort a cast worthy of a year's worth of late night talk shows obliquely note Europe's descent into WWII, the gulf between the haves (us) and the have nots(them), as well as the empty loneliness of both sides, and the redemption gained throughout all sorrow by something so bland and ordinary as friendship (however covert).
In short, a wonderfully uplifting work.
The Gandiman
The Gandiman

Super Reviewer

July 14, 2014
The thoroughly enjoyable "The Grand Budapest Hotel" is Wes Anderson's grandest film. And that's saying a lot from the creator of past gems such as "Rushmore".
Drake T

Super Reviewer

June 25, 2014
Anderson's stylistic approach makes light of and fantasizes often dreary, sophisticated themes creating adult fairytales. The Grand Budapest Hotel is no exception and compartmentalizes a thrilling wondrous adventure into a world and time that's seemingly impossible of such things.

What sticks out in this film is not only how his focus on quirky storytelling juxtaposes many of the darker occurrences of Gustave's tale, but also how it was acknowledged from Zero's recollection as a fantasy. That the beauty, charm, and humor that we were all enjoying was simply in a man... too "civil" for this world.

It's an interesting character study of illusion and one's ability to create a veil of existence that's even contagious to those around him. The idealized romance between Zero and Agatha, successful escape from prison, reclamation of his innocence and rise to fortune was all just so slightly mired with murder, sacrifice, and untimely deaths all around. It's like a careful dance between a dream and actuality.

I recall 2012's "Life of Pi", where I feel that movie failed this succeeded by utilizing a comedic undertone to capture the viewer's imagination before deconstructing it's beauty with harsh realities. There's an endless supply of offbeat laughs and thrills before we're brought to a cathartic conclusion.

After Moonrise Kingdom disappointed me a bit I'm relieved to say The Grand Budapest Hotel is one of Anderson's best and fans of his work will most definitely enjoy it. Those who aren't? Just the same.
Adriel L

Super Reviewer

June 11, 2014
Shot and framed to perfection, every scene and frame is an ecstasy to behold. Like a painting with great composition, you get a film that's incomparably beautiful. One can't see a more picturesque film than The Grand Budapest Hotel. And to count the impeccableness of direction, screenwriting and acting is just as pure.
Letitia L

Super Reviewer

June 15, 2014
Dialogue and relationships aren't quite as powerful as those in, say, The Fantastic Mr. Fox, but The Grand Budapest Hotel is still an enjoyable thrill ride (if uneven at times) and Ralph Fiennes pulls off both unctuous charm and stirring bravery with neurotic, slick-haired aplomb.
KJ P

Super Reviewer

June 7, 2014
You definitely have to be a fan of Wes Anderson's films in order to enjoy "The Grand Budapest Hotel," because his style is present here more than any of his films that I have seen, and if you are not pying close attention you may miss ever joke in the film. The film moves at a quick pace, even though I fel like 10 minutes of it could have been chopped off. It drags these stories out a bit too long, but at the same time it is done brilliantly. I loved every moment of this film even though it felt a tad long. Wes Anderson always brings oroginality and simple new ideas to the table which is why he is one of the best mainstrea filmmakers out there today. This film is nothing short of great. From it's fantastic screenplay, to it's hilarious and believable characters, this film knocks it out of the park. If it wasnt for a few pacing issues I think it does have, it would be a near perfect film.
TheDudeLebowski65
TheDudeLebowski65

Super Reviewer

June 3, 2014
Wes Anderson is an acquired taste, due to his knack from creating films that have eccentric characters with unique plot and off beat humor. However once you get into his work, you realize that he is a director that oozes with talent and he has a knack to truly create some4thing wonderful in terms of a memorable story. The Grand Budapest Hotel being his latest feature film is an exercise in pure filmmaking. I've seen most of Anderson's films, and I thoroughly enjoyed his previous film, Moonrise Kingdom and I would say that it was one of his finest works. With that being said, The Grand Budapest Hotel continues the fun, entertaining eccentric essence of everything that has made his work so memorable and entertaining, and in the process crafts a perfect film with plenty of effective moments to really make it standout. After Moonrise Kingdom, I wondered how Wes Anderson would top himself, yet he has yet again, delivering a quirky film with a good story, with a plateau of varied characters, which makes this one of the finest films of the year. If you enjoy Wes Anderson's work, then you'll surely love this, I think that this is among the director's finest films and with that being said, and I can say without a doubt, how will he top this film? Anderson always pushes his limits in terms of style, and constantly crafts quality picture and he is among modern cinema's finest directors. The Grand Budapest is a well crafted picture, one that has enough comedy, mixed with top notch performances to really make this film standout. After this superb film, I wonder with an eager mind for the next Wes Anderson film. This is a great comedy, and it is well made with style, atmosphere and has everything you'd come to expect from Wes Anderson. I've enjoyed his other films, but with the Grand Budapest Hotel, he crafts a stunning piece of cinema that is highly entertaining from start to finish. With a great cast at his disposal, Anderson has yet again delivered a film that is sure to be seen as one of 2014's finest picture.
Kase V

Super Reviewer

May 13, 2014
The Grand Budapest Hotel takes the unique style of Wes Anderson, an outrageously good cast, some vulgar language and a pinch of melancholia and blends it to create a funny, charming, and all together engaging movie. One of the best 2014 will have to offer.
Sanjay R

Super Reviewer

May 11, 2014
I am not sure if Wes Anderson's latest films are better than his older ones, or if his style is just growing on me, but either way this film is very enjoyable, very unique, very Wes Anderson. Casual moviegoers won't like it, Wes Anderson fans will rave about it, and I feel like I am somewhere in the middle. This film is funny, interesting and quirky, if not a little too quirky at times (but that is just Anderson being himself). Also, much credit to Ralph Fiennes for a fine performance.
Alice S

Super Reviewer

April 28, 2014
Terrible and terrible with a side of vintage steamer trunks and dainty confectionary boxes. This movie is the equivalent of a high school pep rally skit put together by the Senior Class Historian - an artsy guy on the edge of the popular crowd who rounds up a quirky-looking ensemble of theatre nerds in order to buck the beautiful people status quo but ends up perpetuating their own clique instead. The cast is a Who's Who of Wes Anderson alums, cobbled together for inside joke after inside joke that pats themselves on the back for their deadpan and maniacal whimsy rather than their abilities to tell an affecting tale.

The frame story is needlessly convoluted with the old and young versions of people and the books within the books; the violence is gratuitous and serves no narrative purpose; the love story is whatever; the titular hotel inexplicably runs to 1970s polyester-palletted ruin; the murder lacks a compelling enough motive; and the mystery is just a series of cooked clues that an audience has no way of figuring out.

All in all, the movie is very much the Onion's preview of it: an episode of Wes Anderson's Favorite Things with bonus prizes of nepotism. YOU get an eccentric cameo! YOU get an eccentric cameo! YOU get an eccentric cameo!
Matthew Samuel M

Super Reviewer

April 26, 2014
Beautiful to look at, well-paced, ingeniously funny, and artistically designed, The Grand Budapest Hotel is a quirky venture whose all-star cast makes up for occasional lags in energy and unevenness in quality.
Spencer S

Super Reviewer

November 2, 2013
Wes Anderson is a phenomenal director who works with limited resources and yet produces seminal masterpieces surrounding the obscure, the antique, and the flowery. With this, his largest effort utilizing a huge ensemble cast and huge set-pieces, he has possibly created a grand masterpiece unparalleled. Though "Moonrise Kingdom" was an amazing triumph and an interesting period piece, this film discovers the perverse dark humor in the history of the world through hyperbole. Using stop-motion, faking an entire history of a European principality in forties' wartime, and using elaborate costuming and set-pieces, Anderson delves into seedy and malevolent territory, letting us see the exploits of Gustave H and Zero as they traipse across the country, trying to win simple respect and keep intact their prime dignity. I also love the spiraling into grotesque and dark humor to such depths, which I've never seen Anderson exact with such a vengeful direction before. It's a refreshing, magnificent story that looks and feels all new.
TomBowler
TomBowler

Super Reviewer

April 15, 2014
Wes Anderson hasn't affected this much heart since The Royal Tenenbaums and hasn't had a character like M. Gustave ever. Full review later.
Daniel Mumby
Daniel Mumby

Super Reviewer

March 10, 2014
When I reviewed Moonrise Kingdom over a year ago, I complained that it was hard to form strong emotional bonds with the characters because the entire film felt overly choreographed. While Wes Anderson's brilliance as a cinematic craftsman was never in any doubt, it all felt a little too tightly controlled to pass muster as a genuinely heartwarming story about young love and free spirits.

The Grand Budapest Hotel is equally meticulous in its craft, but it is a much better vehicle for Anderson. Its status as a caper comedy places a much more conscious emphasis on the various plot machinations, allowing him to show off his knowledge and affection for cinema without undermining or overshadowing his characters. The result is a very funny slice of finely-tuned frivolity which finds Anderson almost back to his best.

As with all of Anderson's work, The Grand Budapest Hotel looks absolutely beautiful. There is the same powdery quality to the colour scheme as in Moonrise Kingdom, but the emphasis has shifted from summery yellows and woody browns to darker, more regal blues and frothy pinks. Anderson's compositions are as meticulous as ever, and the film utilises many of his familiar tricks, such as symmetrical wide shots, carefully timed circular pans and quirky model shots.

As with all of Anderson's films, however, there are unusual narrative quirks which can sometimes threaten to make the experience too arch and alienating to bond with the characters. In this case, there is his device of handing over the telling of the story from one person to another. The film begins with a lady reading a book in front of a statue of Tom Wilkinson; then Wilkinson (the author of the book) hands over to Jude Law (his younger self); then Law talks to F. Murray Abraham, who finally begins to recount his memories.

It's easy to understand the point that Anderson is making through this device. He is positively besotted with the art of storytelling and is trying to convey that love through a visual medium rather than a literary one. There's also a sly nod with the casting of Abraham, since Amadeus employed a similar device of its main character recounting the story in his old age. But while this device is affectionate, it is not entirely necessary to the story being told, and your enjoyment therein will depend on whether you regard it as an apt demonstration of passion or a needless indulgence.

To some extent, this dilemma is presented in the visuals of the film. While the main action takes place in the early-1930s, with the horrors of World War II still far away, the introduction takes place in the late-1960s. Interwar opulence and luxury is counterpointed with Soviet-era functionality, and by repeating mechanical actions in both periods (such as the strange transport to the hotel), an air of decline and melancholy quickly descends upon proceedings.

Having created an intriguing mood, Anderson gives us a number of quirky, interesting characters with whom we bond and whom we find very funny. Much of the praise has deservedly centred on Ralph Fiennes, who is absolutely brilliant as Gustave H.. The performance works because he believes so deeply in the character on a dramatic level; Fiennes' chops give Gustave a sense of weight and purpose which an out-and-out comic actor might not have achieved. It's an irresitible blend of whimsy, pathos, elegance and mischief, and may be one of the best of Fiennes' illustrious career.

As I mentioned in my Moonrise Kingdom review, much of the pleasure of Anderson's films comes from him getting performances out of actors that no-one would have expected. It's not too much of a stretch to have Willem Dafoe as a thug in knuckle-dusters, or Jeff Goldblum as a stuffy, by-the-book lawyer (who ends up losing his fingers). But it is a pleasant surprise to see Adrian Brody as the villain of the piece, or Tilda Swinton as Gustave's elderly lover whose death sets off the entire caper.

In executing the caper aspect of the film, Anderson plays a very crafty trick. The quirkiness of his characters leads us to accept that they will speak in a manner which is different to our own; we accept this within the first five minutes as part of the overall style. This quirkiness allows him to have characters delivering exposition at break-neck speed, and yet it feels like a long joke rather than plot details.

There are numerous scenes in The Grand Budapest Hotel which are just characters reciting plot exposition directly to camera, something that would have been roundly lambasted had the film been helmed by another director. But rather than do as Hitchcock did and "sugar-coat" exposition with suspense, Anderson deliberately draws attention to it and uses it to celebrate the caper genre in all its ridiculousness. It's not so much hidden in plain sight as a Brechtian device, with the film constantly reminding you of its artificiality.

This is further reflected in the film's set-pieces. Take the hysterically funny sledging sequence, in which Gustave and Zero chase Jopling down a slalom course and ski jump, ending with Zero flinging Jopling off a cliff. The close-ups are achieved with the Hollywood technique of back projection, while the aerial shots are consciously done with detailed scale models. It's arguably just a massive Hitchcock reference, looking back to the skiing scene in the opening of The Man Who Knew Too Much.

Like Bertolt Brecht's work, The Grand Budapest Hotel draws our attention to the artificial, mechanical nature of the story in order to illuminate some deeper, universal truth. On top of being a great, frothy caper, the film is about the passing of an age and with it a particular kind of character. Gustave is characterised throughoutt as being the last of a breed, someone already out of sorts in his own time and longing for release. The film presents its own fictional take on the build-up to World War II, with Gustave coming across like a lighter, more dandyish companion to Christopher Tietjens, the protagonist of Parade's End.

The true success of Anderson's film is that it allows you to enjoy it on whichever level you please. It operates on the same principle as Gladiator: it is both a philosophical exploration of death, morality and a life beyond this, and two hours of people hitting each other. You can read into The Grand Budapest Hotel's colour schemes, seeing the pink motif as a symbol of faded passion and sexuality, or you can just sit there laughing louder and louder at the brilliant action. Both responses are valid, and while the film is not as deep as Gladiator, it deserves praise for achieving this balance.

The Great Budapest Hotel sees Anderson returning to form, delivering a film whose whimsy and quirkiness is anchored and balanced by enjoyable, empathetic characters. While some will still balk at his approach to storytelling, and it isn't as thematically rich as perhaps it could have been, it is still an immensely enjoyable, funny and rewarding watch. It is a good way to introduce newcomers to Anderson's signature style, and is the most enjoyable film of the year to date.
boxman
boxman

Super Reviewer

April 7, 2014
Wes Anderson is a filmmaker whose very name is a brand itself. There are a small number of filmmakers who have an audience that will pay to see their next film regardless of whatever the hell it may be about. Steven Spielberg is the world's most successful director but just having his name attached to a movie, is that enough to make you seek it out and assume quality? If so, I imagine there were more than a few disappointed with War Horse and Kingdom of the Crystal Skull. But Wes Anderson has gotten to that height of audience loyalty after only seven movies, mostly because there are expectations of what an Anderson film will deliver. And deliver is what the quirky, fast-paced, darkly comic, and overall delightful Grand Budapest Hotel does.

In the far-off country of Zubrowka, there lays the famous hotel known the world over, the Grand Budapest. The head of the hotel, the concierge, is Gustave (Ralph Fiennes), a highly mannered Renaissance man who caters to the every whim of his cliental. Zero (Tony Revolori), an orphaned refugee, is Mr. Gustave's apprentice, a lobby boy in training learning from the master in the ways of hospitality. Gustave likes to leave people satisfied, including the wealthy dowagers that come from far just for him (Gustave: "She was dynamite in the sack," Zero: "She was... 84," Gustave: "I've had older."). One of these very old, very rich ladies is found murdered and in her rewritten will, the old bitty had left a priceless portrait to Gustave. Her scheming family, lead by a combustible Adrien Brody, plots to regain the painting, which Gustave and Zero have absconded with.

For Wes Anderson fans, they'll be in heaven. I recently climbed back aboard the bandwagon after the charming and accessible Moonrise Kingdom, and Grand Budapest is an excellent use of the man's many idiosyncratic skills. The dollhouse meticulous art design is present, as well as the supercharged sense of cock-eyed whimsy, but it's a rush for Anderson to pair a story that fits snuggly with his sensibilities. The movie is a series of elaborate chases, all coordinated with the flair of a great caper, and the result is a movie over pouring with entertainment. Just when you think you have the film nailed down, Anderson introduces another conflict, another element, another spinning plate to his narrative trickery, and the whimsy and the stakes get taken up another notch. The point of contention I have with the Anderson films I dislike (Life Aquatic, Darjeeling Limited) is the superficial nature of the films. As I said in my review for Darjeeling, Anderson was coming across like a man "more interested in showing off his highly elaborate production design than crafting interesting things for his characters to do inside those complex sets." With this film, he hones his central character relationships down to Gustave and Zero, and he can't stop giving them things to do. Thankfully, those things have merit, they impact the story rather than serving as curlicue diversions. We get an art heist, a prison break, a ski chase, a murderous Willem Dafoe leaving behind a trail of bodies, not to mention several other perilous escapes. This is a film packed with fast-paced plot, with interesting actions for his actors, maybe even too packed, opening with three relatively unnecessary frame stories, jumping from modern-day, to the 1980s, back to the 1960s, and finally settling into the 1930s in our fictional Eastern European country.

The other issue with Anderson's past films, when they have underachieved, is that the flights of whimsy come into conflict with the reality of the characters. That is not to say you cannot have a mix of pathos and the fantastical, but it needs to be a healthy combination, one where the reality of the creation goes undisturbed. With Grand Budapest, Anderson has concocted his best character since Rushmore's Max Fisher. Gustave is another overachieving, highly literate, forward-driving charmer that casually collects admirers into his orbit, but he's also a man putting on a performance for others. As the head of the Grand Budapest, he must keep the illusion of refinement, the erudite and all-knowing face of the luxurious respite for the many moneyed guests. He has to conceal all the sweat and labor to fulfill this image, and so he is a character with two faces. His officiously courtly manner of speaking can be quite comical, but it's also an insightful indication that he is a man of the Old World, a nostalgic European realm of class and civilization on the way out with looming war and brutality. And as played by the effortlessly charming Fiennes (Skyfall), Gustave is a scoundrel that the audience roots for, sympathizes with, scolds, but secretly desire his approval, much like Zero. It is a magnificent performance that stands as one of the best in any Anderson film.

The fun of a Wes Anderson movie is the zany surprises played with deadpan sincerity, and there is plenty in Grand Budapest to produce smiles and laughter. It's hard to describe exactly which jokes land the best in a Wes Anderson film because they form a patchwork that elevates the entire movie, building an odd world where oddballs can fit right in. It was under a minute before I laughed, and I smiled through just about every remaining minute of the film. I enjoyed a joke involving a dead cat that just kept being carried from scene to scene. I enjoyed a sexually graphic painting that just happened to be lying around. I enjoyed the fact that Zero draws on a mustache every morning to better fit in with the men of his day. But mostly I just enjoyed the characters interacting with one another, especially Gustave and Zero, which forms into the emotional core of the film. It begins as a zany chase film and matures as it continues, tugging at your feelings with the father/son relationship (there's also a subtly sweet romance for Zero and a pastry girl played by Saoirse Ronan). One of the big surprises is the splash of dark violence that ground the whimsy, reminding you of the reality of death as war and fascism creep on the periphery. In fact, the movie is rather matter-of-fact about human capacity for cruelty, so much so that significant characters will be bumped off (mostly off screen) in a style that might seem disarming and unsatisfying. It's the mixture of the melancholy and the whimsy that transforms Grand Budapest into a macabre fairy tale of grand proportions.

The only warning I have is that many of the star-studded cast members have very brief time on screen. It's certainly Fiennes and Revolori's show, but familiar names like Bill Murray, Tilda Swinton, Tom Wilkinson, Jeff Goldblum, Lea Seydoux, Jude Law, Harvey Keitel, Jason Schwartzman, Owen Wilson, F. Murray Abraham, and Bob Balaban are in the film for perhaps two scenes apiece, no more than three minutes of screen time apiece. Norton, Brody, and Dafoe have the most screen time of the supporting cast. Though how does Revolori age into the very non-ethnic Abraham? It reminded me of Street Fighter: The Legend of Chun-Li (here me out) where, as she ages, Chun-Li becomes less and less Chinese in her facial appearance. Anyway, the brevity of cast screen time is detrimental to the enjoyment of the film, considering all the plot elements being juggled, but I would have liked even more with the dispirit array of fun characters.

The Grand Budapest Hotel is Wes Anderson at his best, pared down into a quirky crime caper anchored by a hilariously verbose scoundrel and his protégé. Naturally, the technical merits of the film are outstanding, from the intricate art direction and set dressing, to the period appropriate costumes, to the camerawork by longtime cinematographer Robert Yeoman. The movie is a visually lavish and handcrafted biosphere, a living dollhouse whose central setting ends up becoming a character itself. The trademark fanciful artifice is alive and well but this time populated with interesting characters, a sense of agency, and an accessible emotional core. The faults in Anderson's lesser films have been fine-tuned and fixed here, and the high-speed plotting and crazy characters that continually collide left me amused and excited. If you're looking for a pair of films to introduce neophytes into the magical world of Wes Anderson, you may want to consider Grand Budapest with Moonrise Kingdom (Royal Tenenbaums if they need bigger names). In the end, I think Anderson more than identifies with his main character, Gustave, a man enchanted in a world of his own creation, a world better than the real one. Who needs the real world when you've got The Grand Budapest Hotel?

Nate's Grade: A
Edward B

Super Reviewer

April 5, 2014
Wes Anderson's films range from flawless to instantly forgettable and The Grand Budapest Hotel is exceptionally close to the former. Shot in a variety of cinematic styles while expertly blending two oft forgotten genres - screwball comedy and murder mystery - in a seemless story within a story narrative, this is a fantastic film. Funny, unique, and Ralph Fiennes is at his best.
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