David Edelstein reviews The Grand Budapest Hotel—the latest from Wes Anderson:
Composition and color isn’t incidental—it’s the whole deal. The mountainside Grand Budapest is a miniature—a dollhouse—reached by model train. Inside, it expands. It’s immense. The choreography of staff and guests is busy and militaristic in its precision. The colors are intense: pink walls, crimson carpets, staff waistcoats of electric magenta. Anderson can make you dream of a design for living on a higher, more beautiful plane.