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| The Grand Budapest Hotel, Mr. Anderson’s eighth feature, will delight his fans, but even those inclined to grumble that it’s just more of the same patented whimsy might want to look again. As a sometime grumbler and longtime fan, I found myself not only charmed and touched but also moved to a new level of respect. |
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| (A.O. Scott, New York Times) |
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| A captivating 1930s-set caper whose innumerable surface pleasures might just seduce you into overlooking its sly intelligence and depth of feeling. |
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| (Justin Chang, Variety) |
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| While it has many familiar ingredients — from the atmosphere to the ensemble of Anderson regulars in nearly every role — in its allegiance to Anderson's vision, everything about The Grand Budapest Hotel is a welcome dose of originality. |
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| (Eric Kohn, indieWIRE) |
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| This is one of Anderson’s funniest and most fanciful movies, but perversely enough it may also be his most serious, most tragic and most shadowed by history, with the frothy Ernst Lubitsch-style comedy shot through with an overwhelming sense of loss. |
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| (Andrew O'Hehir, Salon.com) |
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| Real life is not the movie's concern. Mr. Anderson's lovely confection — that's a pastry metaphor — keeps us smiling, and sometimes laughing out loud. Yet acid lurks in the cake's lowest layers. |
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| (Joe Morgenstern, Wall Street Journal) |
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| Grand Budapest is Anderson's most mature film, and his most visually witty, too. It's playful without being self-congratulatory, and somehow lush without being cloying. |
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| (Amy Nicholson, Village Voice) |
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| Sustaining illusion with marvelous grace is, in a nutshell, exactly what Anderson is all about. |
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| (Steven Rea, Philadelphia Inquirer) |
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| It’s quintessential Anderson... but also an unabashed entertainment. And that’s something to see. |
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| (Bruce Ingram, Chicago Sun-Times) |
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| The auteur’s style — dramatic zooms, winking symmetry — is balanced against a newfound political context; this one’s his To Be or Not to Be. |
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| (Joshua Rothkopf, Time Out New York) |
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| What does it add up to? What’s it all about, Wes? In a word: evanescence. |
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| (Ty Burr, Boston Globe) |
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| One of Anderson's cleverest and most gorgeous movies, dipping just enough of a toe in the real world — and in the melancholy works of its acknowledged inspiration, the late Austrian writer Stefan Zweig — to prevent the whole thing from floating off into the ether of minor whimsy. |
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| (Michael Phillips, Chicago Tribune) |
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| It's a mature, intricately layered visual delight. |
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| (Claudia Puig, USA Today) |
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| Constant lateral tracks, push-ins, whip-pans, camera moves timed to dialogue, title cards, chapter headings, miniatures, use of stop-action, fetishization of clothing and props, absurdist predicaments — all the techniques Anderson has honed over the years — are used to pinpoint effect here. |
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| (Todd McCarthy, Hollywood Reporter) |
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| A compulsively arranged sacher torte of a movie, an elegant mousetrap of stories-within-stories that invokes history with a temperament ranging from winsome to deeply mournful. |
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| (Ann Hornaday, Washington Post) |
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| We should all be so lucky as to live in a world designed, peopled and manipulated by Wes Anderson. His latest film, The Grand Budapest Hotel, is a dark, daft and deft triumph of design details. |
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| (Roger Moore, Movie Nation) |
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| It’s wonderful. |
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| (Tim Robey, Daily Telegraph) |
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| A joy from quirky beginning to loopy end... I loved this film, for igniting my own memories and for breathing new life into those faded belle-epoque hotels all over Europe as well as the men who inhabited their lobbies and made them tick. But there’s much else to love it for besides. It is Anderson’s finest work yet. |
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| (Brian Viner, Daily Mail) |
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| Wes Anderson’s eighth feature has a heft beneath its icing, heart behind its artifice. Check in, and you won’t want to leave. |
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| (Emma Morgan, Total Film) |
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| With this film, Anderson has built a thoroughly likable vision of a prewar Europe – no more real, perhaps, than the kind of Viennese light-operetta that sustained much of 1930s Hollywood – but a distinctive, attractive proposition all the same. It's a nimblefooted, witty piece, but one also imbued with a premonitory sadness at the coming conflagration. |
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| (Andrew Pulver, Guardian) |
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| Full of Anderson’s visual signatures – cameras that swerve, quick zooms, speedy montages – it’s familiar in style, refreshing in tone and one of Anderson’s very best films. |
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| (Dave Calhoun, Time Out London) |
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, Saoirse Ronan, Bill Murray
