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The Grand Budapest Hotel


1.37:1 Aspect Ratio


1.37:1 Aspect Ratio


1.37:1 Aspect Ratio

Directed by Wes Anderson

Written by Wes Anderson

Inspired by Stefan Zweig

Starring every major actor who has ever appeared in a Wes Anderson film


I just got home from watching The Grand Budapest Hotel and I will admit without hesitation, I enjoyed this film more than any other film I have seen in a very long time. This is one of the few films in recent memory where I actually wanted more time with the characters. I was not wondering what the time was, or fidgeting in my seat. I was absorbed by what was happening in this film.

The film looks beautiful and Wes Anderson seamlessly blends models and miniatures with stop motion and digital effects. The aspect ratio was unusual in that within each story, the aspect ratio changes. For the most part the film is set in in 1932 and screened in the 1.37:1 aspect ratio, as this was the Academy Standard in 1932 while the scenes with the narrator set in the 1970s are in 2.35:1, which was the standard aspect ratio of that time and the girl in a more contemporary setting, reading the book about the narrator telling the story is in 1.78:1 which is the standard aspect ratio today. This may sound strange, and it is, oddly enough it works brilliantly as we are drawn into the world of Gustav H. through a story within a story, within a story. What this brings is an incredible sense of depth through a wide-angle lens while omitting widescreen.

This appears as a fantastical world of Wes Anderson, yet there is perhaps more pathos than audiences are accustomed to in these films. The emotional core of this film was both funny and tragic while also functioning as an allegory of pre WW2 Europe through the gradual loss of pride and violence seeping through the aesthetics.

Moonrise Kingdom (2012) had on-screen violence, in stabbing a boy and Snoopy (the dog) being impaled. The Grand Budapest Hotel takes the violence to a new level. Yes, there is blood in this film and despite some of the criticisms of Wes Anderson films being too cute, his films are more adult than they have ever been. Where Moonrise Kingdom dealt with the pain of growing up, the onscreen violence felt unnecessary but may be clearer on a second viewing. The Grand Budapest Hotel appears more interested in the pain of isolation, disconnection, totalitarian occupations and love lost. While the violence mentioned may sound out-of-place in these films, one of the running themes of the film was the need to maintain one’s humanity in a savage world. So when the film aesthetically looks like a fairy tale, the content is deceptively dark and in many ways brilliant. So there is a lot to take in, which is why I recommend this film very highly. as an intelligent film that is engaging on multiple levels.

2.35:1 Aspect Ratio

2.35:1 Aspect Ratio

1.78:1 Aspect Ratio

1.78:1 Aspect Ratio






Beyond The Flaws of ‘Star Trek V: The Final Frontier’

In my last blog entry I reviewed ‘Star Trek‘ (2009) and demonstrated that there is more to the film than I and most Star Trek fans initially thought. After writing this entry I began to think about the other films in the ‘Original Film Series’ and how there are aspects of these films that are often overlooked. So I decided to go where ‘No Man Has Gone Before’ I am going to do something that not even William Shatner or Gene Roddenberry could do. I am going to defend Star Trek V: The Final Frontier (1989).

Star Trek V: The Final Frontier is debatable as the worst of the Star Trek films and by all accounts it is quite bad, but it’s bad in a very ambitious way that one has to admire for at least attempting to find God in Star Trek. The effects are by far the worst of any Star Trek film and the story is not without its flaws. Flying into the center of the galaxy to find God may sound like a good idea on paper but is very difficult to pull off and was ultimately a compromised film. While the film was not successful as a Star Trek film or any film for that matter there is still something interesting going on in this film.

For me there are two aspects that set Star Trek apart from any other Science Fiction Series and have made sure it has endured for almost fifty years.The first is the willingness to take on grand ideas, the second is in the surrogate family of the crew.  Star Trek V: The Final Frontier taps into both of these concepts.


Star Trek at its best and at its worst is when it is tackling grand ideas that cannot be contained within a simple story. These are ideas that pertain to destiny, asking what it means to be human and how to maintain a sense of morality in a dehumanizing universe. As Stephen Fry pointed out Star Trek is Nietzschean in concept as man is always trapped between his intellect and his instincts. Kirk, Spock and McCoy are the definition of this in their dynamic. McCoy represents Kirk’s emotional core and Spock represents his intellect and Kirk always has to try to balance these two aspects in order to maintain his humanity. This idea was also addressed throughout The Next Generation in that whenever they had diplomatic missions the problems were either that the Aliens were too intellectual and cold-hearted or they were too instinctual and aggressive such as the Klingon Empire story arcs. So at the core of Star Trek are ideas about humanity and this is more important to the legacy of Star Trek than visual effects and plot contrivances. Star Trek V tackles ideas that are grand that they get muddled in the translation to the screen while this leaves us with a deeply flawed film we have a film that is very passionate about these ideas and deserves credit for attempting to be more than the sum of its parts.


What this film really has going for it and what makes it indefinably Star Trek is that this is the first film in the series which brings us back to the family dynamic of The Enterprise Crew and gives us a film that focuses on the bond of Kirk, Spock and McCoy. While Star Trek III and IV began to tap into the emotional connection between these characters and gave plenty of room for great character moments for all of the crew this was the first and only film that returns to the trio and bookended by the family bond that these three characters shared in the Original series but got lost amongst the film series. The camping sequences while as corny as they are, give the audience a glimpse of how far these characters have come and how close they now are after twenty-three years where their mortality is now bearing down upon them. This is also one of the few Star Trek films where we get to see Starfleet Officers off duty. What makes these scenes so good and yet so cringe worthy in their dorkiness is that they are not the cool kids chasing women anymore. They are like the ‘Dorkie Dads’ on their annual fishing trip. These scenes are oddly charming in this way. They return to classic Star Trek while also showing that they have grown and changed. This serves to remind us that they are not just a crew they are a family unit.


While Star Trek II: The Wrath of Khan is undeniably brilliant and returns one of the great series villains that no other Star Trek film has ever been able to surpass Star Trek has never about the villain of the week it was always about ideas and the family of characters. Therefore Star Trek V with its bad effects grand ideas and a focus on the relationship of Kirk, Spock and McCoy may actually be closer to the concept of The Original Series than any of the other films. This does not mean that it is a better film than any of the films that surround but perhaps we have been too hard on this flawed but ambitious entry in the Star Trek film series.

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