Not surprisingly, the latest film from the indescribably imaginative Wes Anderson, The Grand Budapest Hotel, is sure to leave an impression among fans. The film recounts the adventures of two close friends, a Lobby Boy, Zero Moustafa (Tony Revolori), and the hotel’s concierge, Gustave H. (Ralph Fiennes). The film is set in an imagined European nation on the brink of war in the early 1930s.

After the sudden death of one of hotel’s previous guests, Madame D (Tilda Swinton), Gustave inherits a painting, “Boy with Apple,” from her will. After Gustave and Zero take it, her family, particularly her son, Dimitri (Adrien Brody), is outraged, and Dimitri does whatever it takes to reclaim custody of the painting. A slew of ridiculous events ensues, including murder, arrests and unlikely chases.

Although the film is inspired by the writings of Stefan Zweig, the originality, poise and imagination with which Anderson constructs the story of The Grand Budapest Hotel is something to be admired. Everything from the fictitious European country to the birthmark in the shape of Mexico on the cheek of Zero’s love interest, Agatha (Saoirse Ronan), shows the complex attention to detail and the pleasantly quirky features that make up this film.

Typical for Anderson is his unique imagery, reminiscent of a children’s illustration novel set in motion. However, his films are riddled with paradoxically adult and sometimes dark themes. In this way, The Grand Budapest Hotel is no different.

The mixture of cartoonish, awkward behavior from the actors and carefully composed camera angles make for an obviously stylized film. This style adds a quaint and almost nostalgic delight to the story and The Grand Budapest Hotel as much a visual work of art as its featured painting, “Boy with Apple.”

The film takes on the goofy and sometimes dark humor typical of Wes Anderson’s style. The Grand Budapest Hotel is definitely funny, but not in the same way as most mainstream comedies today.

The humor is slapstick and animated, similar to a refined silent film from the 1920s. It is even comparable to The Three Stooges or Monty Python. However, the humor also takes a dark, sometimes gory turn with the severing of fingers and decapitated heads, reminding the viewers that this film goes beyond comedy. It is a film of action and adventure.

The characteristic suspense and plot twists typical to action films are obvious in The Grand Budapest Hotel. The mixture of events and their sequences border on absurdity. At times, it is difficult to keep up with the pace, which adds to the film’s excitement and even the humor. In fact, the complexity might even provoke several viewings of the film. Personally, I find films that make me come back for a second interpretation the most compelling.

The film’s acting is spot on, conforming amazingly to Anderson’s style. The cast carries the humor and animated quality of the film with quickly flashing gazes and implausibly sudden movements. Anderson’s actors never cease to amaze me with their ability to slip into his films with such comfort and ease, despite the filmmaker’s outlandish style.

Though The Grand Budapest Hotel is a visual wonderland and comedic spectacle, it nonetheless sacrifices the humanistic qualities of many of Anderson’s films. Though his movie Moonrise Kingdom (2012) explores the need to escape and the whimsical nature of childhood, The Grand Budapest Hotel seems confined to the territory of chasing scenes and suspense. Any exploration of the human condition is merely a side note, such as Zero’s love for Agatha or his friendship with Gustave.

In light of this, The Grand Budapest Hotel is interesting, suspenseful and overall an enjoyable movie to watch. A film that entices audiences to see it several times, perhaps there is more to this film than revealed by the first viewing.