The film is just so charming, its just so charming

Rating: 8/10 (7 June 2015)

You have to hand it to Wes Anderson. He certainly has his own style of film. The Grand Budapest is a screwball hybrid of action, adventure, comedy, romance and just about everything else. And after all of those elements are thrown together, its one hell of a film.
It might just be the most beautiful film I've ever looked at. The production design, costumes and hair and makeup meld together to create a magical setting that I not only believed in, I wanted to be there. From the violet jacket and neat moustache of Gustave H. to the rainbow of jackets of the Society of the Crossed Keys, from Tilda Swinton's aged makeup to the glorious set design of the Hotel itself, Anderson's film is a feast for the eyes.
Ralph Fiennes is without a doubt one of the most unappreciated actors in existence. This performance of his might just be one of his best. His comedic timing is so flawless, his delivery perfect and his demeanour so utterly charming, this is as much his vehicle as Anderson's. He takes traits that Adam Sandler made revolting the most endearing qualities possible, and Anderson's words roll off his tongue with ease and grace. And he is wickedly, wonderfully funny. Young Tony Revolori is the perfect foil for Fiennes, they have wonderful back-and-forth, he is sympathetic and endearing all of his own right. I hope this movie is a big breakthrough for him. As for the rest of the cast, it looks like a list of presenters at the Academy Awards, so they're all obviously talented even if many of them feel underused at times. The fact that none of them stand out says a fair bit.
Wes Anderson's screenplay is another huge reason for success. The film wouldn't be able to boast the beautiful visuals or glorious performances. His writing captures Gustave H's glorious mannerisms, the film's eventful adventures and most of all, the beautiful setting of the story. The dialogue in itself is completely delightful, and even the four-tier story setting feels an integral part of the film's feeling, as it allows for F. Murray Abraham and Jude Law to narrate and keep the film's flow.
Anderson's screenplay has a major hole at the film's conclusion, where all charges are dropped for no reason, Gustave is exonerated instead of being treated with more suspicion, Madame D.'s killer is never revealed, and Dmitri leaves instead of arcing up even more. One person said to me "oh I don't care about things like that" when I first mentioned it, and I have carried incredulity ever since. How is the resolution of the entire plot unimportant? Also grating on me are certain accents - some are blatantly American whereas others are distinctly European.
But the film is just so charming, its just so charming. I'm glad the visual feast was recognised at the Oscars, even though Anderson and Fiennes were not. Its funny, somber and utterly delightful, watchable on any occasion.