88
Metascore
48 reviews · Provided by Metacritic.com
- 100VarietyJustin ChangVarietyJustin ChangA captivating 1930s-set caper whose innumerable surface pleasures might just seduce you into overlooking its sly intelligence and depth of feeling.
- 100The TelegraphTim RobeyThe TelegraphTim RobeyIt’s wonderful.
- 90The Hollywood ReporterTodd McCarthyThe Hollywood ReporterTodd McCarthyConstant 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.
- 90New York Magazine (Vulture)David EdelsteinNew York Magazine (Vulture)David EdelsteinWes Anderson’s latest cinematic styling is The Grand Budapest Hotel, an exquisitely calibrated, deadpan-comic miniature that expands in the mind and becomes richer and more tragic.
- 88McClatchy-Tribune News ServiceRoger MooreMcClatchy-Tribune News ServiceRoger MooreWe 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.
- 83The PlaylistJessica KiangThe PlaylistJessica KiangAs off-kilter affecting as we found its nostalgia for a world of charm and dash that really only ever existed in the movies, and as terrific as almost all of the performances are, as a whole package it fell just slightly short of the promise of its parts.
- 80Time Out LondonDave CalhounTime Out LondonDave CalhounFull 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.
- 80The GuardianAndrew PulverThe GuardianAndrew PulverWith 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.
- Wes Anderson’s eighth feature has a heft beneath its icing, heart behind its artifice. Check in, and you won’t want to leave.