Wes Anderson is a film maker with a distinct voice. He tells stories with emotional cores and often tells them using characters that don’t always seen to want to, or even know how to, express those emotions and sets them in a world that is just over the border into absurdity and littered with all kinds of fine detail, interesting colour palettes, and now stop motion.

Basically he crafts a whimsical world and then populates it with non-whimsical people.

In any event, The Grand Budapest Hotel may be his best film yet by virtue of the fact that it’s probably the most Wes-Anderson-y film he’s made to date, but in the best way possible.

Continue reading “Review: The Grand Budapest Hotel”