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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.

Many world-renowned auteurs with distinct styles take years between projects-filmmakers like Christopher Nolan, Kathryn Bigelow, or Steve McQueen. Wes Anderson is inarguably in league with them. Yet lately, he seems to be hurting his own legacy by producing too much, too quickly. In the past five years alone, he's released four feature films and four short films-including The Wonderful Story of Henry Sugar (2023), which finally earned him his first Oscar. The latest in this near-annual output is The Phoenician Scheme (2025).

The Phoenician Scheme tells the story of wealthy and maligned industrialist Zsa Zsa Korda (Benicio Del Toro), who, after surviving one too many assassination attempts by rivals, names his forgotten novitiate daughter Liesl (Mia Threapleton) as his sole heir-over his eight sons. Together with Liesl and his insect-obsessed secretary Bjorn (Michael Cera), he sets off to secure his magnum opus: a network of infrastructure projects in Phoenicia.

Since Isle of Dogs (2018), Anderson's films have increasingly felt like cast reunions performing stylized imitations of his earlier work, rather than urgent artistic ventures. Both The French Dispatch (2021) and Asteroid City (2023) wandered through quirk without narrative drive-pleasant but aimless. His Roald Dahl short films, by contrast, felt stronger, largely because they stuck closer to plot, message, and character. In The Phoenician Scheme, Anderson attempts a return to plot, giving his aesthetic more structure and a clearer objective.

Yet the story at the film's core feels creaky. It plays like a director trying to reawaken his own narrative instincts, so strong in weaving together tones and threads in The Royal Tenenbaums (2001) or The Grand Budapest Hotel (2014). The Phoenician Scheme in contrast lacks emotional depth. It rarely moves beyond clever quips and fails to fully explore the father-daughter relationship central to the film. The political commentary, meanwhile, is blunt and didactic, sacrificing subtlety and impact in favor of heavy-handed messaging.

Anderson has always toyed with caricature and cliché-it's part of his charm. But here, the self-awareness seems to have dulled. There are still magically hilarious moments where everything clicks-like a high-stakes basketball game featuring Tom Hanks and Bryan Cranston-but many other scenes come across as oblivious to their own hollow aphorisms and tropes.

The cast, as ever, is impressive-and thankfully more curtailed than in recent ensemble-heavy efforts. This tighter scope allows for some character development. Newcomers Threapleton and Cera adapt well to Anderson's rapid-fire, deadpan style. Del Toro, however-despite being one of the most talented and underrated actors of the past few decades-feels miscast. His gritty, grounded style clashes with Anderson's hyper-stylized cadence. Del Toro seems out of sync, his performance feeling stiff and unnatural. Zsa Zsa doesn't come across as a genuine industrialist, but rather as someone pretending to be one.

That said, Anderson's signature aesthetic remains intact. The film is visually immaculate, his humor still lands in places, and the editing maintains that conspiratorial wink to the audience. Wisely, Anderson pulls back from the exaggerated look of Asteroid City and The French Dispatch, which had begun to feel like parodies of his own work.

Ultimately, The Phoenician Scheme corrects some of Anderson's recent missteps but still leaves viewers emotionally cold and narratively uninvested. The technical mastery is still there, and familiar faces remain endearing, but Del Toro's misaligned performance in such a pivotal role weakens the film's core. The result is a forgettable, if not unwelcome, addition to Anderson's unique filmography. One hopes the American director continues to pursue his singular style-but slows down and reinvests in story and heart next time around. There's no need to rush.

If I could sum up Wes Anderson's films in one word, it would be "meticulous". Everything in his frames, dialogue, design and production is carefully manicured to a T, and as a result is both very beautiful and hilarious.

As a result of this, all of his films feel like they are on a knife's edge to tip to either an enjoyable masterpiece or a tedious dud. This one feels more like the latter.

It's not to say there aren't some good or funny moments, along with a fantastic cast. But the main relationship between a high ranking corrupt tycoon and his estranged religious daughter never really feels like it hits that mark of deep emotional resonance.

The Grand Budapest Hotel remains his magnum opus. And Henry Sugar is also when Wes is at his finest, which earned him an Oscar for Best Short.

Phoenician felt like a beautiful looking piece added to his collection rather than a film.

'The Phoenician Scheme (2025)' is, unsurprisingly, unmistakably a Wes Anderson movie. At this point, a "Wes Anderson movie" is almost a genre in and of itself. I'm pretty sure the quirky writer-director could do this in his sleep by now, and it kind of feels like that's what he's been doing recently. He consistently churns out films with no real theme or narrative drive or even reason to exist other than to suitably fit into the twee style he has curated over his career, crafting experiences that are ostensibly style as substance but often feel closer to all style and no substance. What I mean is that where his earlier films felt as though he was using his style to tell a specific and meaningful story, his more recent efforts feel like he is fitting a story into his style. He comes up with quaint nonsense that can be easily configured into the still-pleasing shape all his work takes, putting very little into things like theme or character or emotion. His work is starting to get a tiny bit tedious because it feels like he's simply going through the motions, never really challenging himself or using his specific talents to do anything other than the same thing he's been doing for years. That's not to imply that his newest stuff is bad, as they're just as good as any of his holistically more successful efforts from a formal and technical point of view, but they do lack a certain essentiality that makes them feel ever-so-slightly ho-hum. His latest feature - a business-centred pseudo satirical comedy starring a deadpan Benicio Del Toro, a commanding Mia Threapleton and an absurd Michael Cera, alongside a litany of famous faces both familiar and new - is a perfectly serviceable effort, filled with plenty of visual delight and enjoyable eccentricities. It's undeniable Anderson has complete control of his craft, capable of finely tuning his oxymoronically homogeneous idiosyncrasies so they still enchant even if they no longer surprise. However, it's sort of expected at this point that he can - and will - deliver something like this to this level of quality, which has the unfortunate side-effect of dampening the effectiveness - or, at least, novelty - of his cinematic prowess. The strength of his direction and the specificity of his writing aren't as potent as they once were precisely because they've been at the same level for so long that they're part of the proverbial furniture at this point. Of course, taking excellence for granted isn't something that ought to be encouraged, but it's undeniably difficult to get excited about something we've seen so many times before. Plus, it doesn't help that nothing in this flick hasn't been done better before in one of Anderson's earlier efforts. To be fair, it isn't actually any worse than his previous few, at least formally and technically speaking. However, there is a sense that he's running out of steam - or, at least, resting on his laurels - and comfortably releasing self-eating snakes that are so specifically 'Wes Anderson' that they're almost parodies of actual 'Wes Anderson' films. Still, the movie is enjoyable enough for what it is. It's never boring, moves at a pleasant pace, is well-made in its every aspect, and also provokes a handful of chuckles. The problem is that it only ever connects so deeply, that it never truly moves or inspires. That's primarily because there's no real sense of emotion to it, despite it having a family-focused central arc, and it also isn't really about anything. It's a good effort, for sure, and will probably feel extremely refreshing if you aren't all that familiar with its directors work. It's just a little hard to get excited about something that honestly seems a bit perfunctory. Maybe that's too harsh a term, but it's certainly something that comes to mind as you watch the feature unfold. Again, it is entertaining and it is well-crafted. Its cast, most of whom are now veterans in this field, know exactly what to do with the dialogue they're given, and Wes Anderson's signature style is still fairly fun even after all this time. It isn't hilarious, but there are a handful of funny gags and even more mildly amusing moments, and the narrative is engaging for its entirety. By the same token, though it's only ever mildly amusing, never really getting out of second - or, potentially, third - gear and therefore feeling like one of its director's more minor efforts. It's good enough for what it is, and - again - is very confident and compelling when it comes to its form, but it's just lacking a certain something that's difficult to put my finger on. It's a solid effort, and I definitely don't regret seeing it, but it certainly isn't one of Anderson's best. It's inessential, but enjoyable nevertheless.

If you love mid-century fashion and decor and Benecio Del Toro, they'll carry you at least a quarter way through the schemes of 1950's shady industrialist Zsa Zsa Korda (Del Toro) as he plans a byzantine scheme of stock battles to build a railway through old Lebanon. Then the typically precious, overelaborate Wes Anderson dialogue, animatronic cardboard characters in place of actual feeling ones and general sense of being caught in the slow turning pages of a hipster control-freak children's story book will gradually diminish your interest in the film. It's nice someone still employs Michael Cera, but even my grandparents would start checking their watches at The Phoenician Scheme.

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.

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!

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.

Overview: This film is a feast for the eyes with the classic Wes Anderson style. However, there is too much packed in with not enough time to fully explore the story. Everything seems very rushed with good actors not really given enough screentime or dialogues.

Plot: The protagonist, Zsa-Zsa Korda (Benicio Del Toro), reunites with his estranged daughter Liesl (Mia Threaplton). The two aided by Korda's tutor, Bjorn (Michael Cera), travel around attempting to fix Korda's business interests which are at risk due to a funding gap. Surrounding this are the numerous assassination attempts on Korda's life.

Acting: The acting quality is very good with Del Toro, Threaplton, and Cera all putting in brilliant performances. They are ably supported with a superstar cast which includes Tom Hanks, Willem Dafoe, Riz Ahmed, Scarlett Johansson, Benedict Cumberbatch and others.

Set design: This is where the movie shines. The sets are beautifully orchestrated, and it really is a treat to see.

Conclusion: Worth a watch but definitely not amongst Anderson's best work.

6/10.

...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.

Things have taken an interesting turn with Wes' films since Grand Budapest and his films since have not been universally popular, with their more experimental structure splits and dream sequences. Like any other Wes film The Phoenician Scheme is utterly beautiful. Despite this being the first Anderson film not to benefit from the master camerawork of Robert Yeoman the style is still very familiar and the use of props and stunningly created wardrobe are as much stars of the film as the many A-listers who make an appearance, no matter how brief. The dry wit of Richard Ayoade, one of Britain's smartest comedians, and Michael Cera particularly stand out.

It's difficult not to see Benicio del Toro's empathy free, slave-owning, greedy oligarch character spawning children (mostly boys) with wives he has no relationship with as making some reference to some of today's real life characters, much like Isle of Dogs was used to make a subtle reference to the growing anti-immigration narrative when released around a decade ago, but like Isle of Dogs, the ending of the film leaves room for a positive interpretation of current turbulent times.

A Wes Anderson film is very obviously a Wes Anderson film, in style and substance. But it increasingly feels like he is beginning to try too hard to recreate The Grand Budapest Hotel. The harder he tries, the poorer the output. And in The Phoenician Scheme we have a quite diluted attempt but wrapped up in some stunningly creative cinematography. I stuck it out to the end, but lost interest for most of the film. Part of the issue was that it all revolved around the main two characters. Who were in almost every scene. And the story felt a little clumsy, some nice ideas and possibilities that had not had enough time in Mr Anderson's creative incubator.

Wes Anderson's The Phoenician Scheme is a film that looks like art, but feels like air - weightless, aimless, and emotionally barren. It's a museum piece: visually exquisite, technically polished, and utterly disconnected from the audience it should be trying to reach.

The film assembles an A-list cast - Benicio del Toro, Tilda Swinton, Jeffrey Wright, and more - and gives them almost nothing to do but perform in fragments. Del Toro, in particular, delivers a sincere, grounded performance that deserves a much better film. He carries sorrow, memory, and depth on his face - all of which are squandered by a script that prefers aesthetic games over human truth.

Narratively, the film is a mess. The central character dies repeatedly, appears in surreal "heavenly" trials, begs money from estranged people, and pursues a cryptic "project" that's never made emotionally or intellectually clear. These events don't connect - not symbolically, not structurally. They're scattered scenes dressed in Anderson's trademark symmetry, but without any pulse behind them. It's not storytelling. It's theater with the plot torn out.

For viewers expecting another Grand Budapest Hotel - a film with wit, heart, stakes, and storytelling - this is a staggering disappointment. That movie was from another planet in the best sense; this one is stranded in its own head. The Phoenician Scheme substitutes cohesion with confusion and calls it depth. It's not deep - it's vague. It's not subtle - it's evasive.

Worse still, the film weaponizes style as if that alone justifies its existence. It doesn't. The score, the framing, the dialogue - all of it points to a filmmaker more invested in aesthetic gymnastics than in reaching the audience with meaning.

Anderson is capable of brilliance. Here, he retreats into self-indulgence. The Phoenician Scheme is a beautiful shell, meticulously painted, and completely hollow.

I'm disappointed to say that The Phoenician Scheme is the first Wes Anderson film to leave me feeling cold. I just couldn't get into it - it didn't quite work for me. As always, it's masterfully constructed, but narratively, it's far from my favourite of his works.

I've always preferred Anderson's films that carry a bit more raw emotionality - Moonrise Kingdom, The Royal Tenenbaums, or even Asteroid City. The Phoenician Scheme never quite touches that same emotional core, and as a result, it felt less resonant. That said, it's unmistakably a Wes Anderson film, and there's still comfort in that. No one makes movies like he does - the film is a visual feast, filled with elaborate set design, eccentric characters, and his trademark witty dialogue.

Still, this one felt like one of his weaker efforts. Compared to The Grand Budapest Hotel or Asteroid City, there's less to dig into here - the story stays relatively surface-level, and the narrative just didn't grab me.

It's great to see Benicio del Toro in the lead, but his character's unlikeability left me a bit detached. On the other hand, Mia Threapleton and Michael Cera - both of whom feel like they were born to be in a Wes Anderson film - completely steal the show. There's something uniquely satisfying about wanting an actor to work with a director for a long time, and when it finally happens, it's even better than expected (yes, I'm talking about Michael Cera)!

Despite my reservations, I still found it to be a good film - Anderson fans will undoubtedly find things to enjoy. But for me, this was a rare stumble from Wes; it just isn't up to the level of his previous works. That said, the recurring bit with the hand grenade? It cracked me up every single time.

'The Phoenician Scheme' is a semi-crime-caper and half family drama (but not in 'The Royal Tenenbaums' style), but all Wes Anderson. We effectively follow 3 characters - eccentric, semi-shady millionaire Zsa-Zsa Korda (Del Toro), his semi-estranged/soon-to-be-nun daughter Liesl (Threapleton) and Korda's assistant Bjorn (Cera) as they travel around fictional Phoenicia putting together a complicated infrastructure deal.

The start is both shocking and bleakly funny, making Korda an arrogant antihero, who's balanced out well by Lisel and her wanting to do good in the world. While supposed to be set in Syria (i.e. Ancient Phoenicia), was actually filmed in Germany! It's both nice to see famous faces, but also annoying that we don't get to see too many actors shine, as there's so many that want to be in an Anderson film that we get less than 10min of screentime from Hanks, Cranston, Ahmed, Dafoe, Murray, Abraham, Ayoade, Wright, Johansson & Cumberbatch.

While it looks as stylish as ever, with great set design and score, there's some annoying cuts and edits. It feels rushed at times, trying to get through 5 acts in the 100min runtime. While it has humourous moments, felt like it needed more proper laughs and warmth. All the actors are solid, with Del Toro having fun, but seeming to imitate how Hanks would've played the role at times. Pleasant ending.

I wouldn't call myself a Wes Anderson fan. To my knowledge, Isle of Dogs was the only one of his films I'd seen-until now. His trailers usually don't speak to me, and honestly, I tend to roll my eyes once I realize I'm watching one.

Enter Michael Cera. How has he not been in an Anderson flick until now?

I think it comes down to comedic timing. The script here is undeniably sharp, and while it's wordy (sometimes excessively so), the rambling adds to its charm. Especially with Cera-imagine him in Superbad, but with a Norwegian accent and fewer dirty jokes.

The Phoenician Scheme is quintessential Wes Anderson: meticulously designed sets and compositions, a dense and often nonsensical script, and a cast so stacked it borders on ridiculous. And yet-for the most part-it worked for me this time.

I did find myself wanting more from it thematically. I wouldn't be surprised if some characters are stand-ins for certain political ideologies, but maybe it's all meant to stay on the surface. That's not necessarily a bad thing.

After reading a few user reviews of this movie I have concluded that too many get hung up on what the actual story is. To me, the story is not that important. The entertainment comes from the characters, the situations, and their interactions.

My wife and I were watching it, streaming on Peacock. At about 45 minutes she left, she was getting sleepy and found that the movie didn't hold her attention. I was not surprised, I think most lovers of mainstream movies are not good candidates for watching Wes Anderson movies. It is a unique style, and it always amazes me how he gets so many A-list actors to participate.

Benicio Del Toro is Zsa-zsa Korda and it wouldn't surprise me at all if he based his inspiration on the businessman who currently is President of the USA. Zsa-zsa has a grand plan for several interdependent projects in a desert area and needs financial help from a number of others. He is a schemer who has no integrity, he lies about the project and changes agreements without informing others. He is distant from his children and has adopted several young boys to make sure he has one that isn't a "loser." He has survived several plane crashes, flying on his own airlines, seems someone is determined to kill him. But he manages to survive, sometimes including a short trip to the afterlife.

Mia Threapleton (daughter of Kate Winslet) is Zsa-zsa's estranged daughter Liesl, now in a convent, he gets to her and tells her she needs to leave that avocation so she can be his business successor.

The movie is madcap, scenes seldom end where you think they will. It is a great demonstration of the artistry that Wes Anderson surrounds himself with.

For me, totally enjoyable, I will watch it again.

Short Take - Anatole "Zsa-Zsa" Korda survives an assassination attempt mid-air and fearing for his life, he decides to mend his relationship with his daughter while also trying to sell his Phoenician scheme to potential investors to unburden himself. The Government is aiming to stop Korda and end his business. To make things worse, the assassination attempts continue and Korda is also on the path to find redemption. For that, he has to win over his daughter who thinks he murdered her mother and time is running out to get the investors on board. How does Korda manages to solve his issues and find redemption, forms rest of the story.

Wes Anderson's new entry has a sweet personal touch with respect to Korda's emotional as well as spiritual journey. As much as I love the filming technique of Wes Anderson's films, this too amidst the usual tone, has an emotional tale. An atheist finding a way to repent for his mistakes and also cleverly execute his strategies as a hard businessman is aided by a tight screenplay which is engaging throughout. I always pick up short moments in his films and that bit with "let's communicate" instantly struck a chord with me. The melodrama is a bit too much and convenient but it still helps in the narrative's favour. It is yet another worthy watch and the scenes involving Korda's trial, deserves all the praise.

It all begins with a set of shoeboxes. Neatly arranged, like the inner world of someone who alphabetizes their spice rack. The film lays out its narrative devices one by one, and as the story unfolds, we move through them like museum visitors on a guided tour, nodding politely at each exhibit.

The gun-Chekhov's, naturally-is, in this case, a hand grenade. A detail that feels absurd at first, even comic. But as things progress, it starts to make a strange kind of sense. It becomes the story's quiet gravitational center-hiding in plain sight, and yet impossible to ignore once you know where to look. Follow the scent of destruction, stay attentive, and you might find yourself genuinely surprised. That is, if you make it through the stretches that feel a little like listening to a clock tick in a pastel-colored room. The repetition in this movie can at times be fun - but often, it's just that: repetitive.

Everything has its place. Everything has its purpose. Wes Anderson doesn't do accidents. If you stay with it-and aren't lulled to sleep by the stylized symmetry-you'll notice there's more beneath the surface than the film initially lets on.

Did it have to be quite so exhausting?

Could Wes have made it easier on us, the audience?

Probably.

But then again-it's Wes Anderson.

And really-who am I to judge?

I felt like you didn't have to hear the dialogue in this movie. It felt like all you were watching was the repeat cinematic views Wed has been known to shoot. To be honest I felt bored. The acting itself is purely numb, again like in the other movies similar to this (Asteroid City). Sadly this movie felt like they just wanted to get the same experience as before with the same views. Yet, because it's been done a number of times now, we really don't care. I honestly would not watch another movie like this simply because I expect it to be same carbon copy as the others. Great actors in the movie but because they are to act numb they really can't show true acting.

When yet another assassination attempt against him fails, European dealmaker Benicio Del Toro decides he needs an heir to discourage the people who are trying to get him. He's got nine sons, but he chooses his daughter, novice nun Mia Threapleton for the role on a provisional basis. She accepts on a provisional basis after he assures her he did not kill her mother, nor any of his other wives.

Considering the multiple assassination attempts against him in this movie, I believe him. Meanwhile, the bureaucrats in charge of western governments find his success a thorn in their sides. To break him, they engineer a rise in the price of bolts, which will bankrupt his latest project, a plan to build a dam, irrigate, and make a major transportation nexus of Phoenicia, an impoverished land split among four warring groups and many revolutionaries. He spends the rest of the movie flying around, being shot out of the sky, and convincing various people to make up the deficit of inflation.

I don't enjoy Wes Anderson movies for their insights into the human condition, but for the masterful way he manages his plots, and images within a simple Academy ratio frame. This may strike you as odd, but I feel the same way about Bob Clampett, Chuck Jones, and Josef von Sternberg. Still, if you are looking for deeper meaning, you can easily view this as a spiritual journey for Del Toro, who accepts his daughters, his sons, and eventually G*d along the way, with many of the images recalling various Christian-themed paintings. You may also be interested in his view how deals are done not at the top, but at the tippy top: while there is a strong transactional attitude to deal-making -- what's in it for me? -- go beyond that and you'll find something human again. In the end, it's all horse shoe theory, not just for the annoying stuff, but for the people who want to do good...and doing good can be very profitable.

Of course, your reaction to this movie all depends on whether you like Wes Anderson's movies. If you don't, you'll find them cartoonish and recondite. If you do, you'll also find them cartoonish and recondite. I like them. So, apparently, do the large number of skilled thespians who appear in them again and again, and his crew, likewise.

At first I wasnt sure if this was a second movie. I was confused and kinda lost. As it kept going i became intrigued and it was really well done filming. The more movies I watch the more I appreciate movies that are done with a bit of art and style. However this was a bit weird and so it took me some time to really start to like it. Even as I watched it I wasnt sure how much I liked it. It almost. Got a 6/10 rating but I went with 7 because when I think about the movie as a whole after the fact, I think i like it more. I would like to watch this one again after some time has passed to truly know how I feel about it.

Watched at AMC on 6-5-2025.

The Phoenician Scheme doesn't push Wes Anderson's usual tropes to the extreme like Asteroid City or The French Dispatch but it does end up doing just about everything you'd expect from one of his movies without any of the flair. The movie feels like it's on autopilot from the very first scenes and Anderson just ends up feeling like he's recycling his usual tropes to the effect of feeling so dull. I didn't hate this movie but I was amazed by how much of a chore it was to get through.

Anderson's last few movies have been criticised for disappearing too far into his own style but I personally enjoyed the unique experiences those movies provided. The French Dispatch is his magnum opus in my opinion and even if I thought Asteroid City was too overwhelming at times I still liked how much it left me to chew on but that's not the case here at all. The story was painfully uninteresting to me and it's told in the flattest, more linear way imaginable. It's essentially a series of business negotiations for nearly the entire runtime and not only do they feel insanely repetitive but they often drag on far longer than necessary.

I'm not really sure what Anderson's ultimate vision for this film because he doesn't really do anything behind the camera that we haven't seen from him before and his trademark humour really didn't work for me this time around. It's very deadpan with a lot of moments of quirkiness that just feel forced, it actually made me cringe more often than it didn't with the climax in particular feeling quite ridiculous. From a cinematography perspective it looks gorgeous and I really did feel like the performances were hitting the right notes but I just felt nothing. Most of the supporting characters just feel one noted and they end up feeling like quirks more than anything. Benicio Del Toro's character can be entertaining but he's just far too unlikable and never really felt like the script did much to redeem him by the time the film ends.

The Phoenician Scheme is disappointingly flat in almost every way and for whatever criticisms people might have with Anderson's recent offerings at least they had the energy that I thought was sorely missing here. It's not a particularly interesting story with characters that never really peaked my interest at all and the few interesting gimmicks Anderson does use feel like they've been done by him before and better. There's almost surprises technically and it really did end up feeling like Anderson was trying to make one of his own movies. Anderson is very hit and miss for me and I can honestly say that this movie felt like my least favourite aspects of all his work wrapped together in one package.

Pros

• I wouldn't make this movie a minute shorter or a minute longer, which isn't something I can say about a lot of movies today.

• It looks beautiful; the sets are amazing. Every frame is aesthetically pleasing.

• It does have a good emotional heart with the main character and his daughter.

• The script is fantastic.

Cons

• It felt like it was trying too hard.

• It was funny enough to get a chuckle out of me, but nothing made me laugh out loud.

• I understood the big picture with regards to the plot but a lot of the finer details didn't make sense.

Wes Anderson has a distinct style; if you enjoy surreal, satirical, and over the top movies, you'll enjoy this film. If not, it just won't work for you.