Lesser Wes Anderson like The Phoenician Scheme is still a great time at the movies

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It appears that the impact of COVID-19 has significantly influenced Wes Anderson’s work, particularly evident in his films produced post-March 2020, such as “Asteroid City” and now “The Phoenician Scheme“. Themes like relinquishing control and acknowledging the fragility of life have become increasingly prominent in these works, a trend that was previously seen in movies like “Rushmore” and “The Life Aquatic with Steve Zissou”. In one of the final scenes of “Asteroid City”, a character says, “I still don’t understand the play,” to which the director responds, “It doesn’t matter, just keep telling the story.” This seems to reflect Anderson’s newfound emphasis on storytelling amidst the realization of life’s finiteness.

As a devoted admirer, I find an uncanny resemblance between this moment and the poignant closure of Akira Kurosawa’s Drunken Angel, mirroring the director’s blend of pessimism and optimism regarding the future. In other words, watching Asteroid City feels like Wes Anderson personifying our collective bewilderment amidst the ongoing health crisis. But there’s also a comforting message: carry on telling stories, keep creating art despite the unfathomable challenges. It underscores that clarity and control aren’t prerequisites for discovering tranquility or engaging in meaningful creativity during these trying times.

It’s possible that I’m overanalyzing Anderson’s reflections on themes he has tackled before. Nevertheless, the unusual blend of similar thematic elements in “The Phoenician Scheme” leaves me questioning his intentions. We each cope with the harsh realities of 2020 life in our own ways. Could it be that these films represent Anderson’s attempt to confront and grapple with the reality that even powerful filmmakers like Anderson and wealthy characters such as Anatole “Zsa-Zsa” Korda (Benicio del Toro) in “The Phoenician Scheme,” have limited control over their lives?

In a continuation of the tradition of quirky dads in Wes Anderson films, Korda is taking on an extensive undertaking that promises to transform Phoenicia. To make his vision a reality, he requires substantial investment from unconventional partners such as business magnates Leland (Tom Hanks) and Reagan (Bryan Cranston), Prince Farouk (Riz Ahmed), and sea captain Marty (Jeffrey Wright), along with others. This enigmatic character is pursued by assassins, accusations of murdering his ex-wives, and a group of industrialists determined to sabotage Korda’s endeavor.

Following a harrowing plane crash that brushes with death, Korda contacts his daughter Sister Liesl (Mia Threapleton), who is also a nun, designating her as the sole inheritor of his estate. Despite being a devoted servant of God, Liesel harbors resentment towards her estranged father. However, there’s no room for emotional reflection at this moment. Financial miscalculations have resulted in a substantial deficit for Korda’s project. With time of the essence, Korda, Liesel, and tutor Bjørn Lund (Michael Cera) embark on a rapid-fire expedition to encounter their unconventional investors and secure vital funds. Violence and verbal altercations are common occurrences in Korda’s presence. Given the circumstances, this journey presents an opportune moment for father-daughter reconciliation.

I have a soft spot for movies by Wes Anderson. This affection stems from the fact that his film “Fantastic Mr. Fox” left a profound impact on me in November 2009, as an aspiring cinephile. However, it’s not just about that one movie; it’s also due to the intricate blend of tones he creates. His ability to elicit deep emotions from the worlds of “Mr. Fox,” “The Grand Budapest Hotel,” “Rushmore,” and other films continues to amaze me. While “The Phoenician Scheme” is still Wes Anderson, it seems less captivating due to its consistent tone. In contrast, movies like “Asteroid City” manage to combine heart-wrenching poignancy with Adrien Brody’s hilarious “ba-da-ba-da-ba-da” sounds while mimicking a punching bag. On the other hand, “The Phoenician Scheme” is all about silliness throughout.

As a keen admirer, I must admit that the visual style of

In the film “Scheme”, Michael Cera and Richard Ayoade, who had never previously appeared in full-length Wes Anderson movies before 2025, provide numerous hearty laughs. Without a doubt, these two actors shine brightest among the cast. The filmmakers, Anderson and cinematographer Bruno Delbonnel, manage to elicit laughter from Cera in one of the earliest scenes just by having him sit uneasily in a corner of a vast wide shot. Cera’s ability to convey discomfort through his body language is remarkable, even when he appears as a small figure in a grand scene. Additionally, the exaggerated Norwegian accent of his character, filled with precise and amusing mispronunciations, adds to the humor.

Meanwhile, Ayoade presents an amusing contrast with his traditionally formal tone as he portrays a Communist revolutionary fighter. The incongruity of this man, who is always brandishing a powerful weapon, extolling the virtues of the pamphlets he and his comrades carry, is pure comic genius in Ayoade’s hands. Brilliant casting permeates throughout Phoenician Scheme, such as having Hanks and Cranston appear as cantankerous financiers who could outplay you on a basketball court. The hilarity lies in watching gifted actors abandoning their restraint and enjoying over-the-top satirical roles, which never fails to bring laughter. Remarkably, like Popstar: Never Stop Never Stopping, the narrative of Phoenician Scheme doesn’t dwell on a single character for too long.

Just as Popstar knows that Conner4real and his entourage might become irritating if they stay too long in front of the camera, Scheme ensures its story stays lively to avoid overstaying its characters. Instead of feeling the need for Anderson to trim more humorous scenes, you find yourself wanting more of Jeffrey Wright or Willem Dafoe as celestial attorneys/angels. Unlike them, del Toro and Threapleton remain on-screen throughout, portraying the central fractured father-daughter pair.

Both of them are fantastic, but Del Toro stands out exceptionally. This talented actor is frequently typecast in menacing villain roles. It’s amusing to watch him transform into the sort of clueless fool that George Clooney portrayed in early Coen Brothers films. Del Toro convincingly embodies the fatigue in Korda’s gaze, while his dramatic skills enhance the comedic aspect of his peculiar dialogue and physical mannerisms.

Both are fantastic, but Del Toro is remarkable. This versatile actor is often limited to playing intimidating villains. It’s entertaining to see him adapt to the role George Clooney played in early Coen Brothers films – a bumbling fool. Del Toro successfully conveys the weariness in Korda’s eyes, and his dramatic abilities heighten the humor of his peculiar lines and actions.

In this film, all the humorous scenes create a stunning visual landscape under Anderson’s direction, yet it is not his regular cinematographer Robert Yeoman who captures these moments. Instead, Bruno Delbonnel was responsible for this production. However, Delbonnel’s precise framing and choice of a 1.47:1 aspect ratio, reminiscent of similarly compact ratios used in Asteroid City and Grand Budapest Hotel, reflect Yeoman’s style. Together, Anderson and Delbonnel make Phoenician Scheme a visual treat, with the intricate staging providing a foundation for hilarious visual jokes. The way certain secondary characters subtly linger in the background or within the frame brought forth uncontrollable laughter from me.

Costume designer Milena Canonero and production designer Adam Stockhausen enhance Phoenician Scheme‘s striking visual style with their vibrant designs, particularly emphasizing green and blue. This color choice adds an intriguing contrast to the story’s focus on bureaucracy, money, and unsavory human dealings. Since green and blue are often symbolic of the natural world, could it be that the pervasive use of these colors in Phoenician Scheme suggests that Anatole “Zsa-Zsa” Korda and his associates may never truly “dominate” the world, despite their wealth or lofty aspirations?

Though these greens and blues may not directly reflect the film’s theme, they certainly add a captivating charm on the big screen. Similarly, it could be that the ongoing COVID-19 pandemic influenced Wes Anderson’s focus on relinquishing control in his latest works, but even if it didn’t, emphasizing this thematic aspect resulted in another delightful comedy (admittedly not as brilliant as Asteroid City). In a moviegoing season filled with poorly edited films and excessive fan service, Wes Anderson’s consistently entertaining and visually stunning style is more cherished than ever…especially since he invited Michael Cera to join this adventure.

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2025-06-06 16:15