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Saoirse Ronan
Ralph Fiennes
Edward Norton
Willem Dafoe
Tony Revolori
F. Murray Abraham
Jude Law
Adrien Brody.
Wes Anderson.
Wes Anderson.
Running Time
100 minutes

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The Grand Budapest Hotel
Breakfast and whimsy inclusive

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An author (Tom Wilkinson) recalls a visit he made in the ‘60s to what was once one of Europe’s most luxurious hotels. There, the young author (Law) meets its owner, Mr. Moustafa (Abraham), who tells how he came to inherit the building from M. Gustave (Fiennes).

The Grand Budapest Hotel
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The title alone of Wes Anderson’s eighth feature film is a declaration of intent: his fabulous Eastern European hostelry is not merely Good or even Great but Grand, a reflection not only of its clientele but of the director’s ever-more-rarefied aesthetic. Co-written by artist Hugo Guinness, whose résumé — leather goods designer, footwear model, husband of fellow artist Elliott Puckette — gives the distinct impression that one of Anderson’s quaint and curious characters has actually been willed into life, The Grand Budapest Hotel continues the director’s upward curve after The Darjeeling Limited, a fun but slight project that suggested he was dangerously close to running out of creative steam.

With Fantastic Mr. Fox, however, Anderson revealed a surprising new momentum. Although it was literally his most handcrafted film to date, enabling him to control practically every aspect from performance to landscape to weather, it was actually one of his most soulful. Nominally a kids’ film, it turned out to be perhaps the most sophisticated adult project of them all, reiterating some of the neurotic, dysfunctional family content of his earlier, more deadpan and sombre films, in a much more broadly funny and subversive way.

Like Mr. Fox, Grand Budapest Hotel is another film with a heavy emphasis on production design. But where Anderson usually invests in interiors — think Darjeeling with its crazy Bollywood train; The Life Aquatic with its exploded diagram of a submarine set; Moonrise Kingdom with the maze-like Bishop household — this one ventures into the great outdoors and, for the first time, attempts to production-design the landscape. Trading the three-dimensional Czech animation of Mr. Fox for the two-dimensional snip-and-paste of early French cinema, it offers a little Méliès-style magic in its cut-out vistas, little paper funiculars trundling up hillsides and elevators wobbling up and down.

Taking its cue from another movie reference, the Marx Brothers’ Duck Soup, with its fictional setting of Freedonia, Anderson’s film takes place in its own world — the Republic of Zubrowka, where the currency is the ‘klübeck’. Pushing the conceit further, there are even two Grand Budapest Hotels: the ornate, pastel-coloured Xanadu of the early 20th century and the pragmatic, no-frills shadow of itself that it has become in the Cold War ’60s. We see the latter first, as the film’s narrating Author travels there, in flashback, as a young man and meets the hotel’s reclusive owner, Mr. Moustafa (F. Murray Abraham). In this incarnation, the Grand Budapest Hotel is a hushed and eerily calm place of Soviet intrigue, a place straight out of The Lives Of Others that reeks of secret services, police informants and hidden microphones.

There are also two framing devices: the Author as he is today (Tom Wilkinson, staring dolefully straight into the camera, in the manner of a public service commercial) and as he was in the late ’60s (Jude Law), a somewhat more chipper and adventurous personality. In theory, there is next to no reason at all for this, but it certainly suits the shaggy-dog nature of this bizarre tale, creating a Russian-doll structure that will eventually reveal the film’s true hero, the adorable M. Gustave (Ralph Fiennes). The doubling up of memories within memories — effectively the Author’s recollections of Mr. Moustafa’s memoir — is a smart device to allow Anderson to play with exaggeration and contradiction. Filtered not only through the eyes of the young, impressionable Moustafa but also the creative memory of Wilkinson/Law’s Author, M. Gustave is both a lotus eater and a buffoon, a serial womaniser whose sleazy penchant for rich old widows is at odds with his debonair image.

It is one such dalliance with the lizard-like Madame D. (Tilda Swinton) that leads to the film’s key storyline and takes us back to the Grand Budapest Hotel’s opulent heyday, perched on a Zubrowkan mountainside like a huge, candy-coloured wedding cake. The rakish, indefatigable M. Gustave is in his element here, and Anderson’s peripatetic camera — always travelling in straight lines, forwards and backwards — has great fun keeping up with him as he circles and swoops, flattering the wrinkled flesh of his prized, ageing courtesans, at once twinkly-eyed maestro and gigolo, both seedy and magnificent.

And for once in a Wes Anderson there is even a MacGuffin: upon her death, Madame D. bequeaths M. Gustave the rare Renaissance painting Boy With Apple by Johannes van Hoytle The Younger, much to the disdain of the dead woman’s son, Dmitri (Adrien Brody). The painting — who’s got it and who wants it — is really the fulcrum that Anderson’s film balances on, leading to a rich and characterful farce that brings to mind the early Pink Panther movies. Indeed, there’s even a tinge of Peter Sellers about Fiennes’ performance, echoing not just Clouseau’s bumbling, good-hearted innocence but the late actor’s elegant way with words — there is a playful, po-faced absurdity to the language that perfectly complements the physical clowning that dominates the last act.

But as ever with a Wes Anderson movie, this not entirely Fiennes’ show, since, yet again, there are cameos from his ever-growing repertory company that crop up in the most unlikely places. From way, way back — Bottle Rocket and Rushmore — we have Owen Wilson, Bill Murray and Jason Schwartzman; from more recent times — The Life Aquatic and Moonrise Kingdom — we have Willem Dafoe, Harvey Keitel and Edward Norton. These could be jarring, but Anderson uses their faces wisely, notably Keitel as Ludwig, a CG-bald, sage prison con; Dafoe as Jopling, the brass-knuckled henchman working for Dmitri to locate the missing painting; and Norton as the ‘good’ fascist Inspector Henckels, who proves to be M. Gustave’s guardian angel when the stormclouds of war gather.

Such details will be mostly appreciated by Anderson’s more faithful followers, since The Grand Budapest Hotel is stylised to such a degree that many will quickly tire of its archness, its relentless fussiness and its formally stiff body language (just look at the way Léa Seydoux’s hilarious, uptight maid Clotilde hands M. Gustave a package). But for those willing to enter Anderson’s strange and marvellous world, there is plenty to enjoy: the dialogue is richer than usual, with particular relish for the baroque world of M. Gustave, a consumer of ornate artisan pastries who swans about in smoking jackets, liberally dousing himself with L’Air De Panache from a crystal-glass atomiser.

And while it seems to border on tastelessness when the spectre of fascism darkens Anderson’s own bespoke vision of La Belle Époque, Fiennes summons up the humanity to bring an unexpected air of melancholy to the screen. It helps here that Anderson has dropped his trademark use of wayward pop and rock music, working with Alexandre Desplat’s orchestral score — and the occasional burst of traditional Russian folk — to add a suitable sense of gravitas.

Whether it works or not is definitely in the eye of the beholder, and The Grand Budapest Hotel will be as divisive — with the exception of Fantastic Mr. Fox — as all the others. But for those willing to check in without prejudice, this may well be among Anderson’s better films, one of the few that repay repeated viewings.

Another meticulously stylish and deadpan Wes Anderson movie that walks the fine line between masterpiece and folly.

Reviewed by Damon Wise

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Grand Budapest Hotel, The

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Average user rating for The Grand Budapest Hotel
Empire Star Rating

Wes Anderson`s most recent film fits without any problem right into the rest of his body of work. The style, the characters and the atmosphere are all typically Anderson. A whole range of weird characters with that typical soft colour, the story is lovely absurd and has lovely (black and cynical) humor. This really is a film as only Anderson can make them, he once again delivers a enjoyable and beautiful film that has a lot of originality in all its fibers. 7,8/10 ... More

Empire User Rating

Posted by TheGodfather at 22:45, 03 February 2015 | Report This Post

A Truly Silly Film - Why Oh Why is it an Oscar Favourite?

On the plus side - the costumes and sets are beautiful. On the minus side, where to start? The plot is trivial, nonsensical and a total waste of time. Oh well .. ... More

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Posted by joannakanga at 16:20, 18 January 2015 | Report This Post


Super quirky drama from director Wes Anderson. I guess the thing you must realise before going into a Wes Anderson film be prepared to be confused and bewildered if you don't "get" his fashion of film making,....but once you do and try you will be richly rewarded like I was to honest. The story concerns the accounts of author (Tom Wilkinson ) telling his funny and strange adventures with hotel owner Gustave H. (Ralph Fiennes) and his lobby boy Zero Moustafa(Tony Revolori) in the fi... More

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Posted by Ramone87 at 20:24, 04 April 2014 | Report This Post

One of the best films of the year (so far) and easily up there as one of Anderson's best (which, by no means, is an easy ranking). Stylish and quirky - as ever, and brilliantly engaging with a cast the size of the hotel itself. ... More

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Posted by danfacey711 at 23:23, 24 March 2014 | Report This Post

possibly my favourite film of the year (so far)

I honestly loved every minute. I found it far funnier than I was expecting. This is the best I've ever seen Fiennes. ... More

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Posted by tysmuse at 21:20, 24 March 2014 | Report This Post

Possibly the worst film ever !

This film is awful. A terrible waste of the talents of some good actors. Absolutely nothing happens for 100 minutes. It's not funny, exciting or even interesting. It was like watching wallpaper and if we hadn't been with friends we would have walked out after half an hour. At the end we had no idea what the film was about or why anyone had bothered to make it. Truly dreadful. ... More

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Posted by jimcresta44 at 09:27, 19 March 2014 | Report This Post

Loved it

My favourite Wes Anderson film so far, and maybe my third top Ralph Feinnes film performance. I found it funny and fun and moving, and actually pretty accessible. The visual effects were cute, and although it looked from the trailer and poster as if it was going to be 'how many stars can we cram into one movie?', it didn't feel that way when I watched it. ... More

Empire User Rating

Posted by Daaiiisy at 01:35, 15 March 2014 | Report This Post

Loved it

My favourite Wes Anderson film so far, and maybe my third top Ralph Feinnes film performance. I found it funny and fun and moving, and actually pretty accessible. The visual effects were cute, and although it looked from the trailer and poster as if it was going to be 'how many stars can we cram into one movie?', it didn't feel that way when I watched it. ... More

Empire User Rating

Posted by Daaiiisy at 01:35, 15 March 2014 | Report This Post

I love Anderson

and I enjoyed this more than I was expecting to as well. Ralph Fiennes was absolutely superb. His best film in a while. ... More

Empire User Rating

Posted by spideed2 at 12:51, 14 March 2014 | Report This Post

All inclusive.

The Grand Budapest Hotel is, as you can imagine, a little on the self-indulgent side, but when a film's this much fun that's entirely forgivable. For all of his massive acting range, this was the role that Fiennes was born to play. Quite, quite marvellous. ... More

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Posted by TheMightyBlackout at 16:54, 08 March 2014 | Report This Post

RE: Quintessential Wes Anderson

I can fully understand that Anderson's overdecorated, overstylized and highly self-conscious movies aren't for everyone, but at least some of the criticism rests on a faulty philosophical or aesthetic footing. Do movies made in a more naturalistic mode, like mainstream comedies and dramas with their formulaic three-act plots, actually do a better job of reproducing human relationships or social reality? What about movies set in outrageously artificial universes, like action films or thrillers, ... More

Posted by saimiz at 13:53, 08 March 2014 | Report This Post

Quintessential Wes Anderson

Following his 2009 stop-animated adaptation of Roald Dahl’s Fantastic Mr Fox (which is still a debate whether it truly works a children’s film) and his 2012 melancholic teen romantic Moonrise Kingdom, director Wes Anderson – the king of quirky deadpan humour – presents his most Wes Anderson-y flick to date and even though it is live-action, The Grand Budapest Hotel looks entirely animated. Structured as a story-within-a-story, an author (Tom Wilkinson) recalls a visit he made in the sixtie... More

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Posted by R W at 00:55, 08 March 2014 | Report This Post

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