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In my opinion, “The Phoenician Scheme” is a delightful return to classic dry humor for Wes Anderson, whose last project, “Asteroid City,” veered into extreme abstraction and was more appreciated by die-hard followers. Here, Anderson adjusts his compass, delivering an incredibly amusing and wildly implausible tale brimming with his signature style. Benicio del Toro heads a remarkable cast towards zany heights, but it’s the captivating performances from Mia Threapleton and the side-splitting Michael Cera that will leave audiences in stitches in the cinema. To be clear, “The Phoenician Scheme” is far from perfect, as some of Anderson’s scenes drag past the laughter.

Caution to all fearful of flying: Prepare for numerous airborne accidents as you delve into “The Phoenician Scheme.” This thrilling tale begins with an explosive start far above the Balkans in 1950. Zsa-zsa Korda, a wealthy arms dealer and shrewd businessman, famously known as “Mr. Five Percent,” miraculously survives yet another assassination attempt by his numerous adversaries who are relentless in their attempts to end his life. However, his usual nonchalant attitude towards near-death experiences begins to waver as he contemplates the possibility that this time, they might actually succeed.

Assassination Games

Calls for his eldest daughter, Liesl (Threapleton), to their grand estate, a family home. Korda boasts a large brood of ten children, and Liesl is the eldest – and sole female. Since her mother’s enigmatic demise as a child, Liesl had not set eyes on her father. Raised in a monastery, she was now a dedicated nun, yet harbored intense animosity towards Korda. Her thirst for knowledge about her mother’s fate fueled an urgent need to confront him. If he played any role in her mother’s death, justice demanded that he be brought to account.

Liesl is taken aback when Kora unexpectedly names her as the sole beneficiary of his immense wealth, handing over shoeboxes containing information about the “Phoenician project,” a scheme aimed at transforming a financially struggling Middle Eastern nation through large-scale construction projects. However, there’s a significant shortage in funding for this ambitious endeavor, forcing Kora to renegotiate with his reluctant business associates who hold him in contempt and suspicion. With a tense relationship between father and daughter, they set off for Phoenicia accompanied by Bjørn Lund (Cera), Kora’s Norwegian entomologist mentor and administrative assistant.

In the tradition of films like Rushmore, Fantastic Mr. Fox, and The Grand Budapest Hotel, I, Anderson, structure my movies by introducing new characters in distinct segments, creating a stage for all sorts of mischief. This setup eventually leads to an explosive confrontation with Korda’s most formidable foe (you’ll have to watch to find out who the true villain is). The outcome? One of the funniest endings I’ve ever directed, a testament to my ability to amp up the humor and absurdity as the discussions unfold. Let me put it this way: Korda’s negotiation tactics are anything but sound or clever.

In Anderson’s narrative, he alternates the main storyline with a grayscale subplot that mirrors biblical trials, where Korda experiences these visions whenever he narrowly escapes death. These segments unveil the underlying reasons for Korda’s relentless greed – he is ruthless in obtaining what he desires, disregarding the harm inflicted upon others by his actions. Here, Anderson and his long-term collaborator Roman Coppola satirize religion’s approach to complex issues such as slavery. This satire also applies to Liesl’s understanding of her faith: She abstains from drinking alcohol, but beer, communion wine, and cocktails don’t meet her criteria for intoxicants.

Shady Business Dealings

In The Phoenician Scheme, Anderson continues his signature style of captivating visuals, showcasing his exceptional use of dolly and lateral tracking shots. These techniques, prevalent in all of Anderson’s films, remain fresh due to his remarkable creativity. However, this film pushes the boundaries with shocking instances of graphic violence that catch viewers off guard. The movie also marks a darker tone, with a larger number of fatalities, contrasting previous works and intentionally startling the audience. Furthermore, Anderson keeps the character Korda in a constant state of injury, serving as a reminder of the high stakes as this arms dealer experiences his deserved retribution.

Threapleton and Cera deserve recognition for their significant role in making the film’s humor crisp and engaging. Initially, Liesl maintains a stoic and restrained demeanor towards Korda’s outrageous acting, but as she grows to care for him, her attitude softens. Liesl embodies the empathy and human bond that Korda unconsciously yearns for: Despite his past wrongdoings, he isn’t fundamentally evil. Liesl perceives a redeemable quality beneath his surface, transforming into the child-like figure that Korda has longed for as their story unfolds in ways neither anticipated.

In the film, Cera’s portrayal of Bjørn proves to be its most valuable feature. There’s a depth to the character that might not initially be apparent – the quirky insect educator undergoes a substantial change as the story unfolds and his childhood crush on Liesl evolves into deep affection. On the other hand, Liesl gains a fresh perspective on Bjørn once she uncovers several hidden aspects of his character: Sunlight serves as a powerful cleansing agent for this improbable duo.

In a nutshell, The Phoenician Scheme nearly achieves a four-star rating, but it falters due to pacing inconsistencies. The movie could have been more smoothly paced by minimizing unnecessary focus. Director Anderson seems overly fond of his actors and set design, spending too much time on seemingly ordinary objects like shoe boxes or dining tables. Instead, it would be better to move swiftly and maintain a fast-paced narrative. Save the prolonged shots for instances where they truly enhance artistic value.

The film titled “The Phoenician Scheme” is a collaboration between Indian Paintbrush and American Empirical Pictures. On May 30th, it will be shown in select theaters, and from June 6th onwards, it will be available nationwide through Focus Features.

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2025-05-30 19:02