Film Review – The Phoenician Scheme

The Phoenician Scheme

The Phoenician Scheme

After the densely layered Asteroid City (2023) and the ambitious set of Netflix short films, Wes Anderson’s The Phoenician Scheme (2025) might feel a little…conventional. But of course, convention isn’t really Anderson’s forte, is it? In terms of artistry, the writer/director has firmly planted himself as one of the most recognizable filmmakers in movie history. His symmetrical compositions – where all elements in the frame are precisely balanced – has become his calling card. His style is so distinctive, in fact, that it has become almost a detriment. Some claim that his technique and production design has taken precedence over character and story. Those critics will have additional ammo after seeing his latest release. Fans will likely enjoy what he brings to the table here, while those who are not won’t have their minds changed.

When Anderson strikes the right balance between heart and aesthetics, the result truly takes off. Moonrise Kingdom (2012), Fantastic Mr. Fox (2009) and as far back as Rushmore (1998) all exhibited these traits. The issue plaguing The Phoenician Scheme – as impeccably made as it obviously is – is that the balance is not there. Themes of family and legacy are littered throughout, but they feel like echoes of what Anderson had already covered. His trademark deadpan humor is funny, but his characters are so detached that any emotionality he aims for gets masked under all the quirkiness and twee. Anderson’s approach is like pushing thread through a needle – it takes a steady hand and laser focus to get it right. For an artist who basically created his own cinematic language, I’m not so sure all the pieces fit as well as they should.

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That’s not to say there isn’t good stuff here, because there is. Anderson’s script (based on a story he developed with Roman Coppola) introduces us to the business tycoon, Zsa-zsa Korda (Benicio Del Toro). Korda is a shrewd operator, whose questionable corporate tactics not only made him wealthy beyond measure but also gave birth to a host of enemies. These adversaries range from the U.S. government to terrorist organizations. Things have gotten so bad that Korda has become a target for assassination. The opening scene is a bombastic set piece of him surviving a plane crash, caused by shadowy figures wanting him snuffed out. Fearing the end is near, Korda reunites with his estranged daughter, a nun named Liesl (Mia Threapleton) and names her heir to his empire. With a Norwegian entomologist named Bjørn (Michael Cera) tagging along, Liesl follows Korda as he gets his affairs in order with several business partners, while still avoiding attacks from any and all hired killers.

On paper, having a character manage their business affairs isn’t exactly riveting. The setup does allow for some funny interactions from familiar faces. Riz AhmedTom HanksBryan Cranston, Mathieu AmalricJeffrey WrightScarlett Johansson, and Benedict Cumberbatch are just a few of the notable names that pop up as close associates of Korda. They all have issues with how Korda has managed their agreements, causing tension that must be alleviated. Anderson structures these episodes in a repeating pattern, where Korda confronts each individual, an argument ensues and is then resolved in some humorous manner. I especially enjoyed an early confrontation where Korda deals with a disagreement by engaging in a basketball game. The mix of athletic gamesmanship with the characters’ poker-faced expressions made for a lot of laughs.

One of the tougher obstacles the narrative tries to maneuver around is the fact that Korda, whose sketchy decisions and disconnected relationships deserves what is essentially a redemption story. Many people dislike him; he has nine sons – most of whom he adopted in hopes that one will be a prodigy – and he puts his only daughter Liesl through a trial period to see if she can manage his operations after he passes. We’ve seen this kind of stress between parents and children play out before, in the likes of The Royal Tenenbaums (2001) and The Life Aquatic (2004). This isn’t new territory for Anderson, and I’m not sure he adds enough of a new twist on the material. The most interesting sequences has Korda, amid a near death situation, having visions of himself in the afterlife, facing judgement before entry into paradise. These black and white scenes call into question Korda’s legacy: whether all the riches he obtained was worth it. I felt myself most engaged at these moments, because they were less concerned about plot and more with the human soul. Unfortunately, Anderson does not linger on them long enough – opting to quickly go back to the hijinks on Earth.

At this point, is there anything that can be said about Anderson’s production design that hasn’t already been said a million times? To say that a “Wes Anderson Film” looks good is like being a broken record. From the intentional artificiality of the airplane scenes, the marble floors of Korda’s home, to the intricate patterns adoring the walls and tapestries, The Phoenician Scheme is yet another example of Anderson’s eye candy working on overdrive. It’s as though the entire universe is his playhouse, and he – along with the rest of the production – fill it with whatever color, props, and backgrounds they feel fit. One set featuring a nightclub is of particular note. The music, art direction, lighting, and furnishing all had an old school Hollywood vibe. If the scene were shot without color, it could have been mistaken for Rick’s Café from a little-known movie called Casablanca (1942).

As the leads, Benicio Del Toro and Mia Threapleton nail the even-keeled delivery required of Anderson’s dialogue. But the true standout is Michael Cera as Bjørn. It’s a shock that this is the first time Cera has appeared in an Anderson film. His personality and demeanor feel tailor made for this kind of filmmaker. He more than makes up for the lost time, creating a character that may seem one dimensional at first but slowly reveals he has more to offer. Bjørn starts out as a tutor for Korda’s children then quickly gains trust within the inner circle. Eventually, he ends up riding along on his employer’s adventure. With his understated voice, high intellect, and sharp observational skills, Bjørn is of value to Korda, but is also one of the funniest characters we come across. Things take a drastic turn for Bjørn in the second half, giving Cera the opportunity to play multiple angles. There isn’t a choice he makes that isn’t absolutely correct for the character. It’s as though Cera was born for this role and simply waited until the perfect moment to strike.

As you can probably tell from this review, I’m conflicted over The Phoenician Scheme. It clearly has its qualities, but I can’t help but think that much of what we get has already been explored more thoroughly in Anderson’s earlier outings. It often plays like a cover to a greatest hits collection than as a standalone story. I mostly enjoyed it as I was watching it, but I don’t know if I’ll be returning to this one anytime soon.

B

FINAL GRADE: B

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Allen is a moviegoer based out of Seattle, Washington. His hobbies include dancing, playing the guitar, and, of course, watching movies.

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