Wes Anderson's Room Service
“The Grand Budapest Hotel” is told as a story-inside-a-story from the perspective the hotel’s lobby boy, Zero (played in his youth by Tony Revolori and in old age by F. Murray Abraham), who joins the staff in 1932 and quickly earns Gustave’s trust. Much of the film has the feel of a children’s tale reconstructed from memory with the kind of whimsical flourishes and improbable twists that get embellished over time. The language is a delightful mix of formal rhetoric spiced with some perfectly timed cursing. And nobody even attempts to put on an accent that’s outside their comfort zone — Harvey Keitel is pure Brooklyn, Fiennes all England, and the fact that they share a jail cell somehow conforms to Andersonian logic.