Tag Archive: The Grand Budapest Hotel


My 2015 Oscar Predictions

Best Picture

American Sniper

Birdman

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

Will Win: Boyhood

Should Win: Whiplash

Snubbed: Foxcatcher, Nightcrawler, Gone Girl

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Best Director

Wes Anderson – The Grand Budapest Hotel

Alejandro González Iñárritu – Birdman

Richard Linklater – Boyhood

Bennett Miller – Foxcatcher

Morten Tyldum – The Imitation Game

Will Win: Richard Linklater – Boyhood

Should Win: Richard Linklater – Boyhood

Snubbed: Damien Chazelle – Whiplash

Best Actor

Steve Carell – Foxcatcher

Bradley Cooper – American Sniper

Benedict Cumberbatch – The Imitation Game

Michael Keaton – Birdman

Eddie Redmayne – The Theory of Everything

Will Win: Michael Keaton – Birdman

Should Win: Steve Carell – Foxcatcher

Snubbed: Jake Gyllenhaal – Nightcrawler

Best Actress

Marion Cotillard – Two Days, One Night

Felicity Jones – The Theory of Everything

Julianne Moore – Still Alice

Rosamund Pike – Gone Girl

Reese Witherspoon – Wild

Will Win: Julianne Moore – Still Alice

Should Win: Rosamund Pike – Gone Girl

Snubbed: Shailene Woodley – The Fault in our Stars

Best Supporting Actor

Robert Duvall – The Judge

Ethan Hawke – Boyhood

Edward Norton – Birdman

Mark Ruffalo – Foxcatcher

J.K. Simmons – Whiplash

Will Win: J.K. Simmons – Whiplash

Should Win: J.K. Simmons – Whiplash

Snubbed: Riz Ahmed – Nightcrawler

Best Supporting Actress

Patricia Arquette – Boyhood

Laura Dern – Wild

Keira Knightley – The Imitation Game

Emma Stone – Birdman

Meryl Streep – Into the Woods

Will Win: Patricia Arquette – Boyhood

Should Win: Patricia Arquette – Boyhood

Snubbed: Rene Russo – Nightcrawler

Best Original Screenplay

Birdman – Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo

Boyhood – Richard Linklater

Foxcatcher – E. Max Frye and Dan Futterman

The Grand Budapest Hotel – Wes Anderson and Hugo Guinness

Nightcrawler – Dan Gilroy

Will Win: Birdman – Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo

Should Win: Nightcrawler – Dan Gilroy

Snubbed: Locke – Steven Knight

Best Adapted Screenplay

American Sniper – Jason Hall

The Imitation Game – Graham Moore

Inherent Vice – Paul Thomas Anderson

The Theory of Everything – Anthony McCarten

Whiplash – Damien Chazelle

Will Win: The Imitation Game – Graham Moore

Should Win: Whiplash – Damien Chazelle

Snubbed: Gone Girl – Gillian Flynn

Best Animated Film

Big Hero 6

The Boxtrolls

How to Train Your Dragon 2

Song of the Sea

The Tale of the Princess Kaguya

Will Win: How to Train Your Dragon 2

Should Win: How to Train Your Dragon 2 I guess, but I honestly don’t care

Snubbed: The Lego Movie, obviously

Best Foreign Language Film

Ida

Leviathan

Tangerines

Timbuktu

Wild Tales

Will Win: Ida

Should Win: Out of all the nominees, I’ve only seen Ida. So Ida, I guess.

Snubbed: The Raid 2

Best Documentary

Citizenfour

Finding Vivian Maier

Last Days in Vietnam

The Salt of the Earth

Virunga

Will Win: Citizenfour

Should Win: Virunga

Snubbed: The Overnighters

Best Score

The Grand Budapest Hotel – Alexandre Desplat

The Imitation Game – Alexandre Desplat

Interstellar – Hans Zimmer

Mr. Turner – Gary Yershon

The Theory of Everything – Jóhann Jóhannsson

Will Win: The Theory of Everything – Jóhann Jóhannsson

Should Win: Interstellar – Hans Zimmer

Snubbed: Gone Girl – Trent Reznor and Atticus Ross

Best Original Song

“Everything Is Awesome” from The Lego Movie

“Glory” from Selma

“Grateful” from Beyond the Lights

“I’m Not Gonna Miss You” from Glen Campbell: I’ll Be Me

“Lost Stars” from Begin Again

Will Win: “Glory” from Selma

Should Win: “Everything Is Awesome” from The Lego Movie

Snubbed: “I’ll get you what you Want (Cockatoo in Malibu)” from Muppets Most Wanted

Best Sound Editing

American Sniper – Alan Robert Murray and Bub Asman

Birdman – Martin Hernández and Aaron Glascock

The Hobbit: The Battle of the Five Armies – Brent Burge and Jason Canovas

Interstellar – Richard King

Unbroken – Becky Sullivan and Andrew DeCristofaro

Will Win: American Sniper

Should Win: Interstellar

Snubbed: Fury

Best Sound Mixing

American Sniper – John Reitz, Gregg Rudloff and Walt Martin

Birdman – Jon Taylor, Frank A. Montaño and Thomas Varga

Interstellar – Gary A. Rizzo, Gregg Landaker and Mark Weingarten

Unbroken – Jon Taylor, Frank A. Montaño and David Lee

Whiplash – Craig Mann, Ben Wilkins and Thomas Curley

Will Win: American Sniper

Should Win: Whiplash

Snubbed: Fury

Best Production Design

The Grand Budapest Hotel – Adam Stockhausen, Anna Pinnock

The Imitation Game – Maria Djurkovic , Tatiana Macdonald

Interstellar – Nathan Crowley, Gary Fettis

Into the Woods – Dennis Gassner,  Anna Pinnock

Mr. Turner – Suzie Davies, Charlotte Watts

Will Win: The Grand Budapest Hotel

Should Win: The Grand Budapest Hotel

Snubbed: Snowpiercer

Best Cinematography

Birdman – Emmanuel Lubezki

The Grand Budapest Hotel – Robert Yeoman

Ida – Łukasz Żal and Ryszard Lenczewski

Mr. Turner – Dick Pope

Unbroken – Roger Deakins

Will Win: Birdman – Emmanuel Lubezki

Should Win: Birdman – Emmanuel Lubezki

Snubbed: Enemy – Nicolas Bolduc

Best Makeup and Hairstyling

Foxcatcher – Bill Corso and Dennis Liddiard

The Grand Budapest Hotel – Frances Hannon and Mark Coulier

Guardians of the Galaxy – Elizabeth Yianni-Georgiou and David White

Will Win: Foxcatcher

Should Win: Guardians of the Galaxy

Snubbed: Snowpiercer

Best Costume Design

The Grand Budapest Hotel – Milena Canonero

Inherent Vice – Mark Bridges

Into the Woods – Colleen Atwood

Maleficent – Anna B. Sheppard

Mr. Turner – Jacqueline Durran

Will Win: The Grand Budapest Hotel

Should Win: The Grand Budapest Hotel

Snubbed: Edge of Tomorrow, as long as the exo-suits count as costumes

Best Editing

American Sniper – Joel Cox and Gary D. Roach

Boyhood – Sandra Adair

The Grand Budapest Hotel – Barney Pilling

The Imitation Game – William Goldenberg

Whiplash – Tom Cross

Will Win: Boyhood

Should Win: Whiplash

Snubbed: Gone Girl

Best Visual Effects

Captain America: The Winter Soldier – Dan DeLeeuw, Russell Earl, Bryan Grill and Dan Sudick

Dawn of the Planet of the Apes – Joe Letteri, Dan Lemmon, Daniel Barrett and Erik Winquist

Guardians of the Galaxy – Stephane Ceretti, Nicolas Aithadi, Jonathan Fawkner and Paul Corbould

Interstellar – Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher

X-Men: Days of Future Past – Richard Stammers, Lou Pecora, Tim Crosbie and Cameron Waldbauer

Will Win: Interstellar

Should Win: Interstellar

Snubbed: Godzilla

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My Top Ten Films of 2014

Best of 2014

Honorable Mentions (In Alphabetical Order): 22 Jump Street, Calvary, Edge of Tomorrow, Godzilla, Guardians of the Galaxy, Inherent Vice, Interstellar, John Wick, The Lego Movie, The One I Love, The Raid 2, Under the Skin, X-Men Days of Future Past

  1. The Guest – Any of my honorable mentions could have made their way into my number 10 slot, but I ended up choosing Adam Wingard’s hugely satisfying thriller, The Guest. It’s a story about a naïve family who open up their home to a total stranger, only to discover that this man is not as innocent as he seems. Like Wingard’s past efforts, it’s nothing more than a genre exercise, but it’s one that feels uniquely fresh and entertaining. With great performances, slick action and an awesome soundtrack, The Guest feels like a throwback to some of the more ridiculous action films of the 80s, while also managing to mix in its own modern sensibilities.
  1. LockeLocke is 85 minutes of Tom Hardy driving a car and talking on a phone. That’s it. Writer/director Steven Knight has somehow taken a gimmicky premise and used it to provide a wholly realized portrait of man who is simply trying to make the right decisions in his life. The character of Locke is forced to deal with the complications of a concrete pour, while also recovering from the confession of his infidelity to his wife. Attempting to supervise a concrete pour over the phone may not sound exciting and when the movie first begins, it isn’t. But as we begin to learn more about who Locke is and why he’s choosing to make these decisions, every aspect of his life becomes more and more fascinating. This is really a film that gets better and better as the film progresses and it’s all because of the slow development of Locke’s character and Tom Hardy’s incredible performance. Locke is a simple story, told in a unique and daring fashion.
  1. Fury – A profile of five men operating a tank in the European Theater of WWII, Fury is thoroughly gripping from start to finish. The action sequences are intense, well-directed and manage to separate themselves from the pack of other WWII movies with their focus on tank warfare. The film is bloody, brutal and none of the characters ever feel safe from the onslaught of enemy fire. A sequence that pits four American tanks against a superior German tank is shocking and exciting, as is the climactic standoff where our squad must battle an entire battalion of SS Nazi soldiers. But the action is worthless if you don’t care about the characters, so director David Ayer makes sure that each tank member has a distinctive personality. A highlight of the film is an extended sequence where Brad Pitt and Logan Lerman’s characters play house with two young German women. It’s a break in the action, but it goes to show how desperate these men are to receive some semblance of normalcy within the consistent chaos that they’re exposed to day after day. By making the war seem legitimately scary, Fury earns its place alongside all the great WWII movies.
  1. The Grand Budapest Hotel – Love him or hate him, it’s impossible to deny that Wes Anderson has developed a style that’s uniquely his own. With The Grand Budapest Hotel, he’s crafted his most beautiful looking film. Thanks to incredible set direction and production design, practically every frame of the film is a visual wonder. You could watch it with the sound off and still be entertained, but then you would be missing out on the engaging story and sharp dialogue that add another layer of beauty to the film. Aided by a great cast, Anderson has crafted a hugely entertaining tale that works as a remembrance for passed down stories and an affinity for days gone by. Viewers willing to check into this film are sure to enjoy their stay.
  1. Enemy – A surreal and provocative mindbender that’s as frightening as any horror film released this year, Enemy is an intricately plotted thriller that demands multiple viewings. From the opening shot to the final frame, it’s a film that will hold its viewers in a near constant state of suspense. Director Denis Villeneuve’s follow-up to last year’s Prisoners proves that he’s a master at holding viewers on the edge. Jake Gyllenhaal delivers a great two-sided performance and the grim cinematography from Nicolas Bolduc effectively provides the feeling that something just isn’t quite right in this world. Speaking of things not being quite right, the ending is a real shocker that ranks up there with the best of this year. Viewers accustomed to having every plot detail spoon fed to them should look elsewhere; this is a film that will lead to questions, interpretations and conversations. Sometimes, that’s the best kind of cinema.
  1. Boyhood – Shot intermittently from May 2002 to October 2013, Boyhood chronicles the life of a young boy named Mason from ages 6 to 18. It’s an incredible production story, but the film transcends this potential gimmick with fully realized characters, heartfelt moments and interesting themes that most coming of age films don’t even attempt to tackle. Never before has a film so expertly captured what it’s like to live in the 21st century. Everything from the clothes, to the hairstyles, to the vernacular feels authentic with the time period because each scene was filmed in its respective year. Decades from now, people will look back on this film as an authentic snapshot of life in the early 21st century. The amount of things that could have gone wrong with director Richard Linklater’s ambitious project are endless, but somehow everything came together to create a true piece of art that is as beautiful and moving as any motion picture can be. Linklater’s naturalistic direction keeps things poetically simple and eleven years of footage leads to an ending that is breathtaking in how it says so much by saying so little. This is surely one of the most realistic films ever made, but it’s also one of the most magical. I’ve never seen anything quite like Boyhood.
  1. Gone Girl – Adapated from Gillian Flynn’s entertaining page-turner of the same name, Gone Girl is a harrowing mystery that’s engrossing from start to finish. Fans of the source material will be pleased at the faithfulness of this adaptation, while new viewers will be absolutely floored by some of the twists and turns that this movie takes. Not only is it a great thriller, but it’s also a great satire of modern relationships and marriages. The extreme, heightened scenario that these characters are placed in may be rare, but the actions that they take while in this strange scenario are simply exaggerations of what many people do while in a marriage. Couples lie to each other, pretend to be someone else and struggle for power. These characters are written as hyperbolic exaggerations for a reason. Director David Fincher once again proves that he’s a master behind the camera, crafting a film that never lets up throughout its extended runtime. Not only does it rank right up there with his best work, but it’s also one of the most wholly satisfying thrillers to come out in years.
  1. Nightcrawler – A brilliant satire of modern news and the cutthroat business world, Nightcrawler is a startlingly accomplished directorial debut from Dan Gilroy. Jake Gyllenhaal delivers the best performance of 2013 and crafts a totally unique and interesting character in the process. Gyllenhaal’s Louis Bloom is a total sociopath, willing to put anybody into danger as long as it will get him further ahead. He wants to achieve success and he absolutely does not care how he gets there. Gyllenhaal reportedly lost 20 pounds for the role and Bloom’s gaunt physique and long hair only add to his uncomfortable persona. The script by Gilroy also offers plenty of dark humor that may catch some viewers off guard. Gyllenhaal’s character is so loathsome that you almost have to laugh at all of the horrible acts he’s willing to commit. All of these acts culminate in a fantastically directed final action sequence, one that continues to shock even after you think it could go no further. It’s a film that’s full of surprises and feels like a breath of fresh air in the occasionally mundane cinematic landscape.
  1. Foxcatcher – If you’re looking for a feel-good film to boost your spirits and morale, then I must warn you to stay far, far away from Foxcatcher. Here is a sports film with all of the happiness sucked out of it, which is then replaced by an ever mounting sense of dread and scenarios so disturbing that they’re borderline horror movie territory. But what makes this film scarier than most is that it’s completely true. In his best film to date, director Bennett Miller has crafted a true-life tale that’s as haunting as a quiet nightmare. Miller is aided by a fascinating script and three transformative performances from Channing Tatum, Steve Carell and Mark Ruffalo. Aided by some extensive makeup work, Carell’s performance as the wealthy John du Pont is a true standout and the character that he embodies lingers long after the film has ended. It’s a thematically rich film about tragedy, loneliness, the obsession to achieve greatness, and the idea that the wealthiest people in America can use their money to buy whatever kind of life they desire. In just his fourth feature film, Bennett Miller has created a true work of art that is nothing short of astounding.
  1. Whiplash – Sometimes the best thing about movies is their ability to surprise you. Before I saw Whiplash, I would have never imagined that it would end up being my favorite film of 2014. Now, over two months since I originally saw it, my love for the film has only continued to grow. This tale of a maniacal jazz conductor and the young student that he chooses to inflict his wrath upon is intense and undeniably powerful. This isn’t a heartfelt story of a teacher encouraging a student to do his best; it’s a story of a harmful relationship between an abuser and an abusee. Director Damien Chazelle’s directing is tight and spot-on, while his script smartly explores the idea of wanting to achieve something regardless of the cost. Miles Teller delivers an extremely physical performance as we watch him bang on the drum set until his hands are bloody, while J.K. Simmons creates one of the most vicious, ruthless, disturbing and downright evil characters to appear in a movie in quite some time. All of this builds to a final sequence that is equal parts shocking and exhilarating. Just as the film appears to veer towards a fairly obvious ending, the rug is pulled out from underneath us with a truly surprising reveal. Chazelle manages to find an ending that is neither completely uplifting nor completely upsetting and entirely avoids the schmaltz that is typically associated with similar films. It’s more frightening that any horror film I’ve seen in years and one of the most uncomfortable viewing experiences that I’ve ever had. With taut direction, amazing performances and an infectiously toe-tapping jazz soundtrack, this is sure to blow away your expectations, just like it did mine. Whiplash is, without a doubt, the best film of the year.

ImageIf it ain’t broke, don’t fix it.

This seems to be the mantra that Wes Anderson takes in regards to his directorial style and The Grand Budapest Hotel, his eighth feature film, is no different. Anderson’s signature style is on full display here and fans of his work will be happy to see it. Anderson’s harshest critics will complain that all of his movies are the same and try too hard to be cute, but his style is so effective that it would be a shame to see him abandon it. Filled with a star studded cast of Anderson regulars and featuring an Anderson-style telling of what could have otherwise been a dark tale, The Grand Budapest Hotel is a scrumptious and hysterically funny treat.

Taking place throughout several different time periods, the film switches between three aspect ratios (1.33, 1.85, and 2.35:1) to distinguish what year the film is currently in. Not only does this add to Anderson’s quirky style, it also helps aide the audience’s understanding of the story. It’s certainly helpful, but the film’s first few scenes still feel chaotic in structure. We are introduced to a young girl reading a memoir written by an aging author (Tom Wilkinson) who explains how his younger self (Jude Law) met a man named Zero Mustafa (F. Murray Abraham) in the 1960s. Mustafa tells the author a tale of his younger self and how he became the owner of the Grand Budapest Hotel.

Mustafa’s story begins in 1932, the year when the majority of the film takes place. Mustafa explains that as a young man (Tony Revolori), he was the lobby boy at the Grand Budapest. He worked for Monsieur Gustave H. (Ralph Fiennes) the charming concierge of the hotel. Fiennes, who is often designated to playing the villain in his films, seems to be having the time of his life with the role. Gustave is a womanizer who enjoys spending his nights with older, more experienced women and Fiennes seems so confident and natural in the role that his excessive flirtation never becomes overbearing.

Through a newspaper article, Gustave is informed that one of his lovers named Madame D (Tilda Swinton) has passed away. This leads him to travel to her estate for the wake and the reading of the will. Gustave inherits Boy with Apple, an extremely valuable painting that Madame D’s son, Dmitri Desgoffe-und-Taxis (Adrien Brody), wanted for himself. Gustave and Zero steal and hide the valuable painting, just before Gustave is arrested for the murder of Madame D.

It may not sound like an original setup, but Anderson’s unique vision keeps the story from feeling stale. In fact, viewers will hardly have any time to focus on holes in the story, as they will be enraptured by the visuals occurring on screen. Wes Anderson films have always looked good, but The Grand Budapest Hotel may just be his prettiest film yet. The excessive use of pinks, purples, blues and yellows make the film seem more delicious than a treat made by Saoirse Ronan’s Agatha in the Mendl’s bakery. The fantastic set and costume design, along with the gorgeous cinematography from Robert D. Yeoman, make this a feast for the eyes. You could watch the entire film without sound and still enjoy every minute of it.

It could be interesting to see Anderson change up his style in the future, but for now, his trademark use of pans, zooms, tracking shots, static symmetrical shots and gorgeous miniatures are more than welcome. Anderson has stated that the delightful script full of witty dialogue was inspired by “The World of Yesterday”, an autobiography written by Stefan Zweig. From this, we can interpret the film as a love letter to Zweig, a remembrance of stories that have been passed down and an affinity for days gone by.

Viewers checking into The Grand Budapest Hotel are sure to enjoy their stay.

The Grand Budapest Hotel receives 3.5/4