The Grand Budapest Hotel
Direction
Cinematography
Acting
Screenplay
Score
4.1Overall Score

Set in the Republic of Zubrowka in the 1920’s, The Grand Budapest Hotel tells the tale of Zero Moustafa (Revolori) a new lobby boy at the hotel that must learn quickly if he wishes to excel in his post. Hotel concierge Gustave H (Fiennes) prides himself on the standard maintained within the hotel and he takes Zero under his wing to show him the ropes. When a hotel guest passes away suddenly she leaves a rare and expensive painting, Boy With Apple, to Gustave only for him to be accused of her murder. He must use every trick in the book to evade capture and also clear his name of a crime for which he is not responsible. It’s lucky for Gustave that Zero proves the perfect sidekick and friend with which to complete the job.

Wes Anderson will always divide audiences, as his quirky approach tends to alienate some and pull others in and The Grand Budapest Hotel is no different. It features the eccentricity that all his productions feature as well as some of the wittiest dialogue you are likely to find on film this year. There is also a rich texture to everything on screen as it takes you back in time to a more decadent era.

Ralph Fiennes is superb as Gustave H the concierge with an attitude to customer service that is second to none in all departments. He is witty, rude and dedicated to his employees as he seeks to get the best out of them at all times. Fiennes in comedic form has rarely been better; he is superbly entertaining.

It should be said that not only is this movie a caper but also a love story as Zero and Agatha (Ronan) fall for each other. Ronan and Revolori make this romance jump off the screen with youthful exuberance. Getting through every thread and character would be nigh on impossible, suffice it to say everyone involved brings their best to the screen and the story.

Wes Anderson fans will love this film, because it’s great, people who know no different will enjoy it and the haters will hate. Not to be missed.

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