The Phoenician Scheme

While all reviews are subjective and inherently biased, it’s important for me to preface this one by professing my adoration of Wes Anderson’s cinematic flourishes. With each Anderson film since The Grand Budapest Hotel, it seems more and more have grown tired of his style and have urged him to do something new. For those wanting something different from Wes, I would argue that you should stay far away from this film. However, for those like me who love his style of offbeat worldbuilding, deadpan delivery, singular sets, and whimsical characters, The Phoenician Scheme is yet another hit from the iconic filmmaker.

Following Benecio Del Toro on a quest to squeeze money out of a variety of quirky characters in pursuit of the titular scheme, the hundred minute runtime is filled with nonstop joy as we encounter each subplot and its designated characters. While each side character is delightful and a joy to watch, the throughline is Del Toro’s Zsa-zsa Korda, his daughter played by Mia Threapleton, and his new hired assistant played by Michael Cera. These three are all uniquely terrific. While Del Toro and Threapleton can be accused of playing into the usual Anderson neurotic schtick (though I would disagree with this sentiment), I think Cera ends up being one of the best characters in any Anderson film. His performance is one that even the biggest detractors of the film would appreciate and enjoy. It’s quite layered in ways I won’t spoil, as both sides of the character are equally delightful and avoid the persona Cera is known for. His work here feels like the beginning of an exciting new era for this iconic comedic performer. Meanwhile, our two leads have an utterly charming father-daughter dynamic at the core and sell the humor and heart that has always made Wes a special filmmaker. Threapleton in particular  stands out as a magnetic and charming performer that I cannot wait to see in other projects.

There are some obvious praises with a Wes Anderson film; the production design and costumes are stellar, the score is as wonderful and engrossing as always, and the framing is exceptional and singular in that wonderful Wes Anderson way. His ensembles are also always on point, so I would like to offer additional praise to the MVPs from the smaller performances. Benedict Cumberbatch, Richard Ayoade, and all participants of the basketball scene are especially delightful.

There is such a communal and warm feeling to all of Wes’s films. The sense of found family in the characters he usually writes about tends to reflect the cast and crew working on it. With how consistent the people he collaborates with both on-screen and off-screen tend to be, every new Wes Anderson film tends to feel like a passion project. It adds so much to the charm and joy of his films, so there is nothing quite as exciting as seeing new people get added to Wes’s roster of actors. Out of all of the lovely new additions in this film, I sincerely hope that Cera is someone Wes continues to work with for years to come.

The last thing I felt was worth touching on was how the film tackles religion and the morality of the lead character. I think a lot of people overlook the subtext and themes of Anderson’s work, understandably distracted by the charm and silliness of it all. But in recent years, Wes has had a lot more to say with his work. In this film, he adds a lot of depth with the interludes of Korda in the afterlife as he reflects on his actions. It’s the most Buñuel that Anderson has ever gone, and it’s exciting to see Wes explore his characters and themes even further as we go further into his career. 

At the end of the day, I feel like you know what you’re getting into with a Wes Anderson film. In this decade, he seems to be stretching himself more as an artist and attempting to be more introspective and experimental—though while retaining his signature Wes Anderson style. If you weren’t into Asteroid City, The French Dispatch, or the trailers for The Phoenician Scheme, the film itself is unlikely to do much for you. However, as a long-time fan of Wes Anderson, I’m so excited by the risks he is taking as an artist. His recent films have all been splendid, and I cannot wait to see what he does next.

9/10