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  • Anticlimax Boss: Played for Laughs. Jopling is a highly efficient killer who comes dangerously close to ending Gustave's life when he's hanging from a cliff, but is abruptly beaten by Zero who tackles him from behind, sending the killer falling down to his own death while uttering a comical, high-pitched yell with little fanfare whatsoever.
  • Award Snub: Shockingly averted, given the mixed success that Anderson's previous films have had with the Academy, not to mention the extremely early release date. The film actually tied for the most nominations of the year (9) with Birdman, which included recognition for Best Picture, Wes Anderson for Best Director (his first nomination in the category ever), Screenplay, and various technical categories. It also led to Alexandre Desplat finally winning an Academy Award for Best Original Score and was the first ever Wes Anderson film to win (or even be be nominated for) the Oscar for Production Design.
    • That said, there were some who thought Ralph Fiennes was overlooked for Best Actor.
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    • Many saw its loss in the Best Original Screenplay to Birdman as this. Even fans of the latter tended to view its writing as one of its lesser points, and Alejandro Gonzalez Inarritu was already amply rewarded in the Picture/Director categories, whereas Screenplay was an adequate place to finally reward Wes Anderson. Made all the more egregious given how many other awards the film took in the technical categories.
  • Awesome Music: Alexandre Desplat's exceedingly whimsical and catchy score fits the film's mood and time period perfectly, and earned him his first Academy Award.
  • Broken Base: A number of Wes' fans have decried the film for slipping too far into the mainstream compared to the niche comedies of Anderson's past; others, particularly newer fans, call it one of his best for its more broadly-accessible humor and stronger acting compared to the director's previous outings. The majority, however, claim that the film is on par with most of his other material.
  • Crosses the Line Twice:
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    • The will-reading scene where Gustave learns Madame D. has left him Boy With Apple. First Gustave gets punched out by Dmitri. Then Zero punches him out in retaliation. And then Jopling punches him out.
    • Speaking of whom, the moment where Jopling displays his capability for dog-kicking by defenestrating Deputy Kovacs' cat. It's awful, true, but also cartoonishly evil, so much so that you can't help but laugh. Ditto for him being given his dead cat to take home in a bag. What really makes it funny is Jeff Goldblum's stunned response to it.
  • Genius Bonus: The graphic watercolor of the two lesbians used to replace Boy with Apple is done in the style of Austrian expressionist painter Egon Schiele, who did a lot of erotic paintings, although not so much with the Girl-on-Girl Is Hot motif. The woman in the passive role in the painting is recognisably based, in features, pose, and stockings, on the subject of his well-known Recumbent Nude With Legs Apart.
  • Hilarious in Hindsight: The Egon Schiele-like painting "Two Lesbians Masturbating" is especially funny when you consider that the maid at that house is played by Léa Seydoux, famous for her role in the sexually explicit lesbian film Blue Is the Warmest Color.
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    • The climax of the ski chase with Jopling and Zero. Flash Thompson kills Norman Osborn.
  • One-Scene Wonder: A lot. Very few characters outside the main group get more than one or two scenes and a handful of lines, but all of them are so believable and entertaining that you barely even notice it until the film's over.
    • Tilda Swinton, one of two main female characters in the film, gets only a few lines at the beginning before her character's death initiates the plot.
    • Harvey Keitel as a tattooed prison inmate has an extended monologue, although he is seen more than once before the group escape.
    • When Gustave is in danger, who does he call? Bill Murray!
  • Special Effect Failure: A lot of shots of hotel, and some outdoor shots are done with what are obviously models or painted setpieces. Likely done intentionally, as they add to the film's fanciful, retraux style.
  • Spiritual Licensee: To Spirou and Fantasio. Both are a mix of comedic or adventure stories (although The Grand Budapest Hotel eventually ends on a Darker and Edgier and a lot more depressing note than Spirou and Fantasio), in which one of the two main protagonists is a hostel bell-boy. Also, Spirou and Fantasio make heavy use of fictional countries (The Grand Budapest Hotel is set in a Ruritanian one), and was created roughly in the same era than the one in which the movie is set. Of course, the ambience of Spirou and Fantasio is much less surreal and dark than Wes Anderson's film.

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