The Grand Budapest Hotel

The Grand Budapest Hotel ★★★★★

100

“What is the meaning of this shit?!”

I didn’t expect to give Wes Anderson’s The Grand Budapest Hotel a perfect score, but I’ll be damned if I didn’t love everything about this film. The only other Wes Anderson film that I have seen prior to this would be Fantastic Mr. Fox, a film that I enjoyed, but one that I was also very disappointed in. I originally wanted to give it a 60 something, but I made the decision to let it sit. And I’m glad I did, because the more I thought about it, the more I realized that there was something quite addictive about his style. I just couldn’t get it out of my head. And to this day, I think it’s still growing on me the more that time passes. I got the Criterion blu-ray in the mail and immediately popped it in with minimal expectations, but I found myself absolutely blown away at what I was experiencing. There isn’t a single thing that I would change about The Grand Budapest Hotel, and I would be genuinely surprised if any other Anderson film that I view in the future surpasses it. I want to start off with how much I absolutely adore his style. There are many director trademarks out there in film. Tarantino has his stylish and lavish dialogue, Kubrick has his dark tones, voiceovers and crisp cinematography, Scorsese has his energetic, profanity laced dialogue and New York settings, Shyamalan has his twist endings, Hitchcock has his cameos, and Burton has his gothic visuals. Out of all of these phenomenal directors and their trademarks, must say that Anderson’s perfectly symmetrical framing, quirky screenplays, vibrant colors, slow motion, wonderful cinematography, and perfect uses of the Rostrum and wide angle shots are my absolute favorite. His style is so euphoric and unique, and I can confidently say that his direction here is some of the absolute best of the 21st century. My favorite part about this film is, without a doubt, the lively and jaw dropping cinematography. I’ve thought a lot about this, but I can confidently say that, not only is this my favorite cinematography of the decade, but my favorite cinematography of all time. I shit you not, this is the best cinematography that I’ve ever seen. I absolutely adore it, and it has taken the place of The Shining in terms of my favorite camerawork. That’s something I didn’t expect, considering the fact that Alcott’s camera work was my favorite of all time for years. And the score? Jesus Christ. It’s impossible to not have a smile on your face while your listening to it. The script is absolutely WONDERFUL. The characters are phenomenal and the storytelling is so fucking smooth. I’ll probably write more later, but if I had to sum this up in one word, it would be delicious.

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