Rating 6/10
Director Wes Anderson has reached that stage of his career where he is like a beloved raconteur at a party — the kind of guest who held the entire room in rapt attention at its peak. With his singular style, he arrived early, impeccably dressed, charming and clever, spinning tales so dazzling they seemed to reinvent storytelling itself. Every eye was on him, every ear leaning in.
But the night has worn on. The stories, formerly enchanting, now feel routine— the rhythms predictable, the punchlines recycled. He’s still perched comfortably in the same velvet chair, swirling a Negroni in a cut-crystal glass and gesturing with a flourish, but most of the guests have quietly slipped away. A handful of the most loyal remain, content to indulge in the occasional glimmer of the old magic. Yet there’s no denying it: the gathering has thinned, and the spell has waned.
The Phoenician Scheme is very much a product of his late period— a production that bears all of Anderson’s frequent hallmarks: storybook framing told in chapters, a large ensemble cast, detailed production design, symmetrical shot composition, performances reeking of affection, and deadpan dialogue. For those already weary of his twee sensibilities, this latest entry is another loop on a carousel playing yet another calliope tune. But for those lingering at the soiree, the auteur’s latest effort offers modest rewards — small delights tucked away, the occasional sparkle of wit, and even moments of emotion.
Set in 1950, the account follows flamboyant arms dealer Anatole “Zsa-Zsa” Korda (Benicio del Toro), an industrialist who survives an assassination attempt. Shaken by the experience, he sets out to reform his ways. Korda brings in his estranged daughter, Sister Liesl (Mia Threapleton), a Catholic nun, to help run his morally compromised empire. As Liesl uncovers dark family secrets — like the truth about her mother’s death and Korda’s betrayal of his ruthless half-brother, Uncle Nubar (Benedict Cumberbatch) — she becomes increasingly drawn into his high-stakes infrastructure project in the fictional country of Phoenicia, where Korda seeks to exploit labor and secure dubious funding.
Michael Cera brings an awkwardness to Bjørn Lund, a Norwegian entomologist and Korda’s soft-spoken assistant, whose quiet demeanor masks surprising depths. Cera shines in a role that subtly shifts midway through, allowing him to play against type without losing any charm. Meanwhile, Mia Threapleton’s matter-of-fact portrayal of Sister Liesl is full of restrained intensity. Despite her cool exterior, she manages to be the sane anchor in an eccentric world.
With governments plotting against him and betrayals within his inner circle, Korda is forced to confront his past, redefine his legacy, and seek some form of redemption. Whether he finds it is almost irrelevant. It’s all about the journey, which is full of Anderson’s signature wit.
The Phoenician Scheme is Anderson’s twelfth feature and marks a return to slightly firmer footing after the arch detachment The French Dispatch and Asteroid City. As a mosaic of loosely connected events, it blends political satire and absurdist humor, all delivered in meticulous style. I’ve seen all of the director’s films, and I must admit I was a massive fan up to and including The Grand Budapest Hotel. Rushmore and Moonrise Kingdom remain two of my all-time favorites. But his work after 2014 hasn’t charmed me.
This is his best in a decade by default.
While The Phoenician Scheme may not expand his artistic vocabulary or break new ground, there’s a certain comfort in the familiarity — like listening to an old tune played with precision, if not passion. Anderson may not be captivating the whole room anymore. Case in point: this is among his lowest-grossing at the box office. Nevertheless, for those who have stayed this long, there is a distinct pleasure in watching him hold court one more time.
06-05-25
One Response
Michael Cera was my favorite here. I didn’t hate this. I thought it was pretty good. I used to look forward to every Wes Anderson movie. That’s kinda changing. The movies are always gonna look great and have an extensive great cast, however, they just do t have the same magic lately. 3 🌟