Watch The Grand Budapest Hotel (2014) putlocker megavideo megashare full movie

Wes Anderson is one of the most original film makers working today. None of his films can be categorized into any particular genre. His latest, The Grand Budapest Hotel, which opened the Berlin Film Festival, continues that trend. It is a tale within a tale within another tale. Whilst every shot has been meticulously arranged as though a work of Art hanging in a museum, story wise Anderson has let his imagination run wild. Though the tale (with Tom Wilkinson as the author of the story) and the tale within the tale (with Jude Law as the young author & F Murray Abraham as the mysterious owner of THe Grand Budapest Hotel) have straightforward narratives, the tale within the tale within the tale, which comprises the bulk of the film and is set in the years preceding the Second World War, is a wild uproarious train ride of story telling. It also boasts the cast of a life time: Ralph Fiennes, Tilda Swinton, Edward Norton, Adrien Brody, Willem Dafoe, Harvey Keitel, Jeff Goldblum, Bill Murray, Owen Wilson & countless cameos. It will delight Anderson fans but is more likely destined for Art house cinemas as it is too off center for mainstream audiences. The production design and music are outstanding and even the end credits are imaginatively done (and received another ovation from the audience).

Can a film be absurd, funny, exciting, violent and colourful at the same time? Yes. 'The Grand Budapest Hotel' combines all those elements. And I didn't even mention the most important characteristic: it is visually wonderful.

In this film, director Wes Anderson creates his own universe, full of colourful characters, old-world charm and witty one-liners. The nice thing about creating your own universe is that you can make it look perfect. Every shot, every little detail and every set is flawless. From lead character Gustave H.'s purple jacket to the title of the newspaper announcing the war (The Trans-Alpine Yodel) - Anderson has given thought and attention to everything.

The story is not very important, because it is merely a vehicle for the stunning visuals, the dark humour and the rapid-fire dialogue. It's all about a hotel concierge, Gustave H., who is being chased by various villains for stealing a painting. All this is set against the backdrop of the Nazis invading Central Europe (although in Anderson's fantasy world they are not called Nazis off course). Some of the scenes are very funny, but there is always a darker tone because of the looming war. Anderson doesn't shy away from extreme violence, but he shows it in an offbeat and almost comical manner.

My favourite scene, in which it all comes together, shows concierges in hotels all over Europe, calling each other to help Gustave H. Each of them is shown in his hotel (with a wonderful fantasy name off course), busy doing some important job like tasting the soup or giving first aid to an unconscious hotel guest, when he is being called away to the telephone. Each hands the job over to his assistant, and answers the phone. This fast succession of little scenes is done so perfectly, it's a great joy to watch.

Ralph Fiennes steals the show as the sophisticated Gustave H., who never despairs, even in the most unfavourable circumstances. He is supported by a large number of star actors, who are sometimes almost unrecognizable. Because of the amount of support actors, some of them are a bit underused. Tilda Swinton gets rather little screen time, as does Harvey Keitel.

The film moves forward at a breakneck speed. You have to be very alert in order not to miss something. The plot is not always very easy to follow, and the dialogue is fast. And there are the great camera angles and the wonderful detailed sets to pay attention to. I think by seeing the film a second time you can discover lots of things you didn't notice the first time.

My heart is still rolling from the escape to 30's Europe this afternoon, and without jet lag. This movie is an inspiration, a dream, a walk through a painting and a study of humanity.

Ralph Fiennes is a phenomenon as M. Gustave. his interactions with every cast member and especially newcomer Tony Revolori are fantastic. The later holds his own weight beyond belief and the entire film is an amazing adventure with James Bond style chases, a large murder mystery, the best placed cussing and of course the sensational cinematography. The sets, models, angles and even the most nondescript characters come to life each on their own and together as a symphony of beauty. It's freaking brilliant; The Grand Budapest Hotel.

It has often been said that Wes Anderson walks the fine line between folly and genius. In the "Grand Budapest Hotel", however, this distinction no longer exists: the ridiculous becomes brilliant, and brilliant has never been this ridiculous.

It is his best work, or at least the film which has all of Anderson's creative impulses working in one direction, producing a coherent work of art. His films have always been quirky, charming and out-of-this world, but never before has the audience been immersed in Andersonland as fully as with this film. The colours, the camera movement that switches between different parts of the set, the music, the lens angle distortion, the ridiculously stellar cast, all of Anderson's trademark elements, combine to produce the ultimate Anderson film. The absolutely ridiculous CGI is used perfectly to add to the surrealism of the movie. It is also extremely well crafted, not only visually, but structurally. Unlike some of his previous work, the editing, the pacing and the rhythm of "Budapest" are pitch-perfect.

Is it a great film? I'm not sure. It does not attempt to cope with the issues of death, love, despair, the big ones. On the other hand, it seeps with nostalgia, a bittersweet longing for an age long past, and the fascinating characters it produced. It is technically a detective comedy, and one has to note that the genre seems to suit Anderson's peculiar brand of filmmaking very well. But never before has Hitchcock's Macguffin been as explicitly embodied as by the "Boy With the Apple". The plot is merely a mechanism that allows Anderson to transport his vision onto the screen, a vision of a peculiar world seemingly different from our own, but filled with just as much loss and, at the same time, human compassion as ours. There is comedy, but its either very subtle or incredibly over the top, and most viewers are uncomfortable with both. There isn't a single 'ordinary shot', pretty much every image is out of place to such an extent that they begin to form one coherent film, and a fantastic one at that.