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The Grand Budapest Hotel (2014)

R  |   |  Adventure, Comedy, Drama  |  28 March 2014 (USA)
8.1
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Ratings: 8.1/10 from 332,830 users   Metascore: 88/100
Reviews: 578 user | 493 critic | 48 from Metacritic.com

The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.

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(inspired by the writings of), (screenplay), 2 more credits »
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Top 250 #185 | Won 4 Oscars. Another 134 wins & 146 nominations. See more awards »

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Cast

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Storyline

GRAND BUDAPEST HOTEL recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune -- all against the back-drop of a suddenly and dramatically changing Continent. Written by Fox Searchlight Pictures

Plot Summary | Plot Synopsis


Motion Picture Rating (MPAA)

Rated R for language, some sexual content and violence | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

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Country:

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Language:

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Release Date:

28 March 2014 (USA)  »

Also Known As:

El gran hotel Budapest  »

Filming Locations:

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Box Office

Opening Weekend:

$811,166 (USA) (7 March 2014)

Gross:

$59,073,773 (USA) (22 August 2014)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Gustave's prisoners number is 112, the emergency response number for most of Europe. See more »

Goofs

When Zero sits on top the haystacks waiting for the car from the Hotel Excelsior Palace, his pencil mustache is missing. It returns when he enters the car. See more »

Quotes

[first lines]
Author: It is an extremely common mistake. People think the writer's imagination is always at work, that he's constantly inventing an endless supply of incidents and episodes; that he simply dreams up his stories out of thin air. In point of fact, the opposite is true. Once the public knows you're a writer, they bring the characters and events to you. And as long as you maintain your ability to look, and to carefully listen, these stories will continue to...
Author's Grandson: [...]
See more »

Crazy Credits

[lines are centered] Introducing Tony Revolori Zero See more »

Connections

Referenced in Someone Has to Review It!: Year-end Special! (2015) See more »

Soundtracks

Roses from the South
Written by Johann Strauß (as Johann Strauss II)
Performed by Wurlitzer 153, 8-Roll #13175
Courtesy of Play-Rite Music Rolls
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Brilliant
14 March 2014 | by (Russia) – See all my reviews

It has often been said that Wes Anderson walks the fine line between folly and genius. In the "Grand Budapest Hotel", however, this distinction no longer exists: the ridiculous becomes brilliant, and brilliant has never been this ridiculous.

It is his best work, or at least the film which has all of Anderson's creative impulses working in one direction, producing a coherent work of art. His films have always been quirky, charming and out-of-this world, but never before has the audience been immersed in Andersonland as fully as with this film. The colours, the camera movement that switches between different parts of the set, the music, the lens angle distortion, the ridiculously stellar cast, all of Anderson's trademark elements, combine to produce the ultimate Anderson film. The absolutely ridiculous CGI is used perfectly to add to the surrealism of the movie. It is also extremely well crafted, not only visually, but structurally. Unlike some of his previous work, the editing, the pacing and the rhythm of "Budapest" are pitch-perfect.

Is it a great film? I'm not sure. It does not attempt to cope with the issues of death, love, despair, the big ones. On the other hand, it seeps with nostalgia, a bittersweet longing for an age long past, and the fascinating characters it produced. It is technically a detective comedy, and one has to note that the genre seems to suit Anderson's peculiar brand of filmmaking very well. But never before has Hitchcock's Macguffin been as explicitly embodied as by the "Boy With the Apple". The plot is merely a mechanism that allows Anderson to transport his vision onto the screen, a vision of a peculiar world seemingly different from our own, but filled with just as much loss and, at the same time, human compassion as ours. There is comedy, but its either very subtle or incredibly over the top, and most viewers are uncomfortable with both. There isn't a single 'ordinary shot', pretty much every image is out of place to such an extent that they begin to form one coherent film, and a fantastic one at that.


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