By Franny Aliotta ’14 | Staff Writer

Wes Anderson’s unique vision for film has always been creative and intriguing; his latest debut, “The Grand Budapest Hotel”, is eccentric yet enlightening in the most visually appealing way.

The beauty of Anderson’s work is that it seems so effortlessly flawless. This particular film was done in a manner that made the viewer feel like they were experiencing each shot.

Not only was the cinematography exceptional, but the plot was both complex and hilariously executed through framed narration.  Viewers are first taken back to 1985, where a man (Jude Law) recounts an experience with a man he will never forget. The owner of the hotel, Zero Moustafa (F. Murray Abraham), begins his long story of how he came to own the Grand Budapest Hotel starting in 1932  when he was a teenager.

He recalls adventures as a lobby boy and learns the ropes of being a perfect hotel concierge from his mentor and friend, Gustave H. (Ralph Fiennes). But he also learns the troubles that are involved with becoming a little too open with some guests.

The main plot begins when a regular guest, Madame D. (Tilda Swinton), is strangely murdered. But what is even stranger and especially to her family is that she left her most prized possession to Gustave.  It is a painting called “Boy With Apple” and it is ultimately priceless.  However her son, Dmitri (Adrien Brody), is infuriated and is out to get the painting throughout the entire movie.

Fiennes’ presence during the movie creates an illuminating atmosphere. His character’s personality is confident yet composed and Fienne’s executes it perfectly.

The dialogue at times is hard to follow because it is spoken so fast and with such rich diction, but it is very clever and mind challenging, which sets this film apart from most.

Anderson shots are very symmetrical and this is what makes people admire his films, everything looks so perfect.  Each frame is like it was measured exactly to be equal on each side and balanced with space and objects. His obsession with detail further engages the audience in his films.

Accompanying the movie being beautifully filmed, the entire cast laid down outstanding performances. There were small parts for Bill Murray, Willem Dafoe, Owen Wilson, Saoirse Ronan and Edward Norton among many others.

The ending is both funny and endearing but has a certain undertone of sadness as Moustafa ends his story now as a lonely old man. Movie goers will be left amazed, laughing, and wanting more from one of Anderson’s best films to date.

Grade: A