Chris Luckett

Wes Anderson is the most visually distinctive film director since Stanley Kubrick. Other than his first film, the six that followed — Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom — all looked similarly idiosyncratic to the point of being immediately identifiable, even just by a still frame, as “Andersonian.” His eighth feature, The Grand Budapest Hotel, is at once a typical Wes Anderson movie and also something much more.

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