La trama fenicia

MOONRISE KINGDOM was the first Wes Anderson movie I saw, and it's still my favorite. His newest is THE PHOENICIAN SCHEME, a caper about Zsa-Zsa Korda (Benicio del Toro), a businessman trying to squeeze his investors for more money to help overhaul the infrastructure of Phoenicia with slave labor. Joining him on his swindling journey are his estranged nun-to-be daughter Liesel (Mia Threapleton) and his assistant/tutor Bjørn (Michael Cera). It's a wonder how this is the first Anderson film that has Cera in it, the style is a perfect fit for him. If you're not familiar with the style, it's basically side scrolling camera work, symmetrical compositions, vibrant colors, and quick, whimsical dialogue. His best works have both style and substance. This movie definitely has the style, but I think the substance was lacking for me. Maybe I'm just getting tired of his schtick. The plot felt too mechanical and less emotional. It didn't truly have me invested in any of the characters. I laughed quite a bit though. It's always fun to see who Anderson has in his movies. They probably just come in for a day or two, have some fun filming their scene then leave. As always, this has exquisite art direction and production design. I really enjoyed the main trio. Ultimately, THE PHOENICIAN SCHEME boils down to whether or not you're a fan of Wes Anderson movies. This is one of the quirkier ones in his repertoire. In my opinion, it's visually beautiful and funny, but forgettable.

While watching this film I felt a bit sad because it reminded me how funny Gene Hackman was as the disillusioned patriarch, a recurring theme in Wes Anderson films.

There is much to like in the Phoenician Scheme:

* Stravinsky - the use of music in the film is very good. I have always liked these pieces of music but to hear them together, in an up front way was special. I also loved Moonrise Kingdom for its extended use of Benjamin Britten.

*End Credits - worth watching as they tastefully but playfully hold your attention.

* Costumes and sets - as always of the highest quality * Colour Pallette - the most confectionary-like cinema has ever been; a mixture of stop animation, play within a film and situationist comedy.

It's easy to dismiss Wes Anderson films as being all the same but if this were the only film he'd made it would easily be the best of the year so far. Only because we as viewers have limited memory to store a few classics by each filmmaker, unfortunately Anderson's last few films have been slightly overlooked.

This is a gloriously mad film from beginning to end.

Personally I laughed a lot and really enjoyed it, but it will definitely leave many people cold. There's no point to it, you won't be enriched, the plot never really becomes clear, and none of the characters is really sympathetic.

It felt very like a Monty Python film to me - absurdism, unexpected shifts, weird motifs, and recurrent dream sequences highly reminiscent of Terry Gilliam's cartoon interludes. And it's almost as silly.

An incredible cast of actors is reduced to a series of bit-part cameos, which should be annoying, but I couldn't help thinking that it was probably enormous fun to make. And Bill Murray as God is without doubt one of my favourite ever bits of casting. The Tom Hanks and Bryan Cranston double act is a total hoot.

So I certainly can't recommend it to everyone, but I will definitely recommend it to people who I think will get it. And l'll probably be wrong. The world needs more weirdness like this, to counterbalance the weirdness that matters. Enjoy.

...but I just can't hack it anymore. His last three films have all been increasingly tedious. Best I can describe them is as a slog. Yes there is whimsy and great camera work and attention to detail, but the soul (always so present in his early work) is entirely gone. I'm really hoping he has a return to form and brings us something close to the mastery of what came before, or his last great film Grand Budapest, but I fear he is only going further down his ornate, soulless rabbit hole. It has its moments, but if you have felt, as I have, that is past few films have been a bit of a chore, you will be itching for the end credits.

I went into this movie not knowing exactly what to expect, but I came out pleasantly surprised. First off, the cinematography is absolutely beautiful-there are a few scenes that genuinely made me pause and appreciate how well everything was framed and lit. The pacing was just right for me, and it kept me interested from beginning to end without dragging.

The characters were actually one of the best parts. They felt real, not overly dramatic or exaggerated. You could really connect with their motivations and emotions, which made the story that much more impactful. I found myself rooting for some, questioning others, and overall just really invested in their journey.

Plot-wise, it had a good balance of drama, tension, and some lighter moments. It wasn't overly complex, but it had just enough twists to keep things interesting without feeling forced.

Overall, I really enjoyed the experience. It's one of those movies that sticks with you a little bit after the credits roll. Definitely worth a watch!