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The ornamental riches queue up in Wes Anderson’s new comedy: star cast, glitzy production design, pastiche stylings of gesture, costume, dialogue in a story set in
belle époque eastern Europe. But there’s precious little substance amid the showmanship. Fiennes, Swinton, Goldblum, Dafoe, Keitel and Co gallivant on in a multi-flashback comedy/chase story – prism’d through two “future” framing episodes – about a stolen painting and ancestral mountain hotel.
The script is “inspired by” Stefan Zweig’s stories. Zweig isn’t around to complain. Probably diehard Anderson fans won’t either.

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