Wes Anderson’s The Phoenician Scheme is one of his silliest movies yet—and that’s kind of the point. Compared to the weightier Asteroid City, this one feels lighter, more playful, and full of the kind of intricate visual flair and dry humor that make Anderson, well, Anderson. At first glance, it’s a goofy globetrotting comedy packed with physical gags and deadpan one-liners, but underneath the pastel chaos, he’s poking at some deeper ideas, like the emptiness of chasing success and the strange ways powerful people try to control legacy and family.
Benicio del Toro plays Zsa-zsa Korda, a business mogul who’s survived six plane crashes and is just now wondering if maybe someone’s trying to kill him. So he starts planning for the future—by choosing an heir. He has nine sons (most adopted, just in case one turns out to be a genius), but his real focus is his daughter Liesl (Mia Threapleton), a nun who he suddenly wants to mold into a corporate leader, minus the exploitation he’s used his whole life. That sends them on a whirlwind journey to cut deals around the world, bringing in a stacked cast: Riz Ahmed, Tom Hanks, Bryan Cranston, Jeffrey Wright, Scarlett Johansson, Mathieu Amalric, and a completely unhinged Benedict Cumberbatch as Uncle Nubar, to name just a few. Oh, and Bill Murray plays God. Naturally.
It’s a huge cast and everyone’s doing that signature Anderson thing, dry delivery, impeccable timing, but somehow Michael Cera manages to steal the show as he always does. He plays an awkward tutor with a mysterious past, and it turns out he’s kind of perfect for Anderson’s world. He gets some of the funniest moments, a surprisingly emotional arc, and even a little karate. Who knew?
Plot-wise, The Phoenician Scheme is kind of all over the place. There’s a vague murder mystery in the background, lots of business lingo, and some deals being made that are never fully explained. Honestly, you might find yourself asking what exactly is going on, and the movie doesn’t seem all that interested in answering. The structure feels more like a frame for Anderson and co-writer Roman Coppola to hang their ideas on than a tightly plotted story.
But that’s not necessarily a bad thing. The real core of the movie is about Korda confronting the mess he’s made of his life and wondering if he can still change. We get some wild scenes set in Heaven (complete with surreal religious imagery), and even though Anderson doesn’t push too hard on the philosophical stuff, it’s definitely there. He seems torn between making a sharp satire and just letting loose with a ridiculous comedy—and sometimes you can feel him pulling back just as things get interesting.
Still, there’s something kind of charming about it all. The Phoenician Scheme might not end up on anyone’s list of top-tier Wes Anderson movies, but it’s hard not to enjoy. It’s weird, funny, and packed with little moments that remind you why his style is so beloved. And even if the story doesn’t totally come together, the film’s central question, can someone who’s flattened everything in his path finally learn to see people as more than pawns?Provides it just enough heart to make it stick.
The Phoenician Scheme is in cinemas now
