Wes Anderson’s films are not for everyone.

This was true for “The Royal Tenenbaums,” and “The Life Aquatic.” And it’s certainly true for “The Grand Budapest Hotel.”

Like his other films, “The Grand Budapest Hotel” has an assorted cast (with many Anderson regulars) of extraordinarily talented actors all at their best in a surreal, brightly colored world that might be our own.

“The Grand Budapest Hotel” tells its story in true Anderson fashion – it begins by switching between three narrators in five different points in time.

The main story of the film focuses on the adventure of M. Gustave (Ralph Fiennes) and Zero (Tony Revolori), who work as the concierge and lobby boy at the Grand Budapest Hotel.

Gustave is a notorious lover of rich old women who come and stay at the hotel. Though at first you imagine him to be a con-man, it’s revealed that Gustave really seems to love these women. When one passes away unexpectedly, Gustave takes Zero and rushes to her home to give his final farewells.

After Gustave is charged with murdering the (extremely) rich woman, he and Zero go on a whirlwind adventure to escape pursuers, find love, avoid the oncoming war and sell a priceless stolen painting.

Anderson has a special way of measuring out comedic tragedy in his films – scenes of implied violence or horror are played for laughs brilliantly.

Yet, while “The Grand Budapest Hotel” sticks to the same dark comedy routine, it sometimes went too far, leaving a sour taste behind.

When it’s just telling its story through the masterfully meticulous style Anderson has, “The Grand Budapest Hotel” is brilliant.

Every scene looks as if it could be printed and hung in a gallery, every turn of the camera is specific, every musical note syncs with the actors’ movements precisely.

Everything is laid out seemingly perfectly, including the star-studded cast, which features the likes of Bill Murray, Willem Dafoe, Jeff Goldblum, Tilda Swinton and Owen Wilson, (just to name a few) in roles that, despite their small size, benefit greatly from their casting.

While the film as a whole certainly deserves Best Picture, if it does not at least win awards in Cinematography, Directing or Production Design – all of which it has been nominated for – then the Oscars are not to be trusted this year.