The Wes Anderson’s new film, The Grand Budapest Hotel can be overwhelming at times. It opens with a woman reading an interview the author conducts with an ex-lobby boy, the real narrator of the film. It is a confusing premise, but once the real story starts, it hardly matters. The bulk of the movie follows the lively tale of M. Gustave, the smooth and somewhat old-fashioned concierge of The Grand Budapest Hotel, and his trusty lobby-boy Zero (the narrator of the story).

As the two work their way across the movie’s fictional setting during a fictional war, Anderson delivers what many have come to expect from his better movies — wistful environments color-coordinated to a fault, a charismatic but stubborn protagonist with a kind but clueless sidekick, and a who’s who of talented actors (Ralph Fiennes, Tilda Swinton, Adrian Brody, Jeff Goldblum, Edward Norton, and Bill Murray all appear at some point). What’s new in Budapest, though, and what makes it so remarkable, is its sense of purpose. Before, Anderson’s characters sweetly traipsed through nostalgic surroundings and campy plots, but Budapest delivers a real sense of danger and high-stakes in its drama while still remaining quite funny.

There is still plenty of nostalgia to be had, but it manifests in the idealistic philosophy of the protagonist. Gustave’s character brings a delightfully flawed persona to the center of the film — he’s courteous, yet frank, shrewd, but reckless, and rather tragically stuck in the past. So while audiences will certainly be wooed by his charm, the movie still presents many interesting questions about the importance of appearances, and otherwise outdated traditions.

Overall, the movie is a visually pleasant adventure with wonderfully acted personas that ask seriously important questions. For Anderson fans and those unacquainted with his charm — it is definitely worth a watch.