The Phoenician Scheme – Film Review
by Fran Winston

Directed by: Wes Anderson

Starring: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis

If you had no idea who was behind this film within about 30 seconds of it starting it would become glaringly obvious. This has Wes Anderson’s trademarks stamped all over it. From the sumptuous sets and costumes, gorgeous cinematography and all star cast to his specific style of stilted dialogue delivery.

You might also find some of the characters are somewhat recognisable. Del Toto plays power-hungry wheeler-dealer wealthy businessman Zsa-zsa Korda. Seemingly, he isn’t based on Donald Trump, but Anderson has said that the film draws inspiration from real-life robber barons, particularly the rise of Middle Eastern petrostates in the mid-20th century, so make of that what you will.

After yet another assassination attempt, he appoints his only daughter, Liesl (Threapleton), who is due to take her final vows to become a nun, as sole heir to his estate over his nine sons. Although reluctant, since she has no real relationship with her father, he asks her to take on the role on a trial basis while he undertakes a new enterprise. As they travel to meet other captains of industry to try and fund it, they encounter double-dealing scheming tycoons, terrorists and still more assassins as he struggles to bring his dream project to fruition.

All the actors seem to be having a great time here. They all take the subject matter very seriously. Tom Hanks and Bryan Cranston are an especially good double act as investors in the project. Someone, please give them a film together.

It looks gorgeous, although that is a given with an Anderson movie. It is a kaleidoscope of colour. The settings are also stunning and as grandiose as you would expect from Anderson. Indeed, the whole thing looks like a work of art.

Sadly, it gets a bit bogged down in its own earnestness in points. The analogies weigh heavily and overshadow the beauty of it at times.

Also, there is nothing here that pushes the envelope. We have seen Anderson do it all before. Yes, he does it extremely well, but it would be nice to see him mix it up a bit.

Overall, this is entertaining but somewhat unsatisfying. It is reliably Wes Anderson. If you like his work, you will love this. If you are not a fan of his output, you will still find this entertaining, but it is unlikely to convert you to his fan club.