The Phoenician Scheme

The Phoenician Scheme
Starring Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed
Directed by Wes Anderson

Wes Anderson is one of the greatest auteurs of our time, a visionary director and writer who infuses satirical deadpan humor with dazzling set designs, unique filming style and ensemble casts that seem to be created by the cinematic gods above. Each film feels unique but also fits together like a giant puzzle, where you'd believe that each film is in the same cinematic universe if not for seeing many of the same actors playing vastly different roles. In a world where comedy seems to be a dying art in cinema, he is the last vestige of humor that gives hope there's still a world where this medium can work. There's no cheap sexual humor, no flatulence jokes, nothing for shock value or cheap giggles: all the jokes are hard-earned, and incredibly intelligent even in its outlandishness (such as offering hand grenades like most people offer gum). Throughout his illustrious career Anderson has time and again delivered bangers on the big screen, and while "The Phoenician Scheme" isn't his grand opus, it's still one heck of a good time.

Zsa-Zsa Korda (Benicio del Toro) is a ruthless business tycoon who's survived six assassination attempts, and realizes he needs to find an heir to his vast fortune. Though having nine sons, he chooses his only daughter - nun Sister Liesl (Mia Threapleton) - to carry on his legacy. Though estranged, Liesl agrees to be the heir (albeit on a trial period) as they traverse the world to secure funds for a massive deal Korda is planning, and one which American businessmen are trying to hinder - as well as discover who killed Liesl's mother. Along for the ride is Bjorn Lund (Michael Cera), an entomologist, tutor, and now Korda's administrative assistant who develops feelings for Liesl. Throughout their (mis)adventures, the three bond and learn the importance of family over wealth and the value of hand grenades. 

"The Phoenician Scheme," much like all of Anderson's other work, is a movie that demands multiple viewings to fully gather everything happening in it, because you'll spend a decent amount of time laughing out loud - and you won't mind watching it over and over due to the impeccable performances, lavish set pieces, and fun camerawork that are trademarks of the director's craft. Every frame is a moving piece of art, every line of dialogue delivered with deadpan humor and precise articulation, and every performance is driven by committed A-list starts who literally salivate at the thought of giving only one or two lines for an Anderson movie. You sense every ounce of commitment by everyone involved in every scene, and you know that this wasn't done for the sake of making a sale, but making truly beautiful moving pieces of art.

The movie touches on different topics, but never wholly leans into one or the other, to the film's betterment. Anderson is famous for delivering thought-provoking stories through humor, and here he focuses on the importance of family, redemption, legacy, wealth, the afterlife and restoring broken relationships.  Usually when a movie tries to tackle so many hard-hitting themes it fails, but here it flourishes because of everything mentioned before. And it does so with dizzying speed and even faster quips and sight gags that helps make the themes go down smoother.

Benicio del Toro shines as Zsa-Zsa Korda, a man that by all rights should be seen as the villain, but is also so perfectly inept at his confidence you can't help but root for him. A ruthless businessman, he's endured six assassination attempts and seemingly is incapable of dying (even though after every attempt there's a hilarious split where he's in the afterlife trying to gain access to heaven shot in black-and-white and featuring the likes of F. Murray Abraham, Willem Dafoe and Bill Murray as God himself), and is one of the film's most glorious repetitive sight gags (although there's too many to mention - such as the aforementioned hand grenade offerings, arrows shot by one of his sons, and his shouting matches with different prospective business partners). Zsa-Zsa is led by wealth, but wants to establish a connection with his longsuffering daughter who's now become a nun, and wishes to pass his fortune to her. As they travel together they grow closer, even as she has doubts as to whether or not he killed her mother (which he adamantly denies, even saying he never killed anyone, numerous times).

Newcomer Mia Threapleton (the real-life daughter of Kate Winslet and painter/filmmaker Jim Threapleton) is a welcome addition to Anderson's repertoire of performers as the no-nonsense Sister Liesl, and delivers all her lines with the perfect deadpan countenance you expect from Anderson's work. She never exhibits any sort of excitement through anything, and hilariously brandishes a dagger whenever danger lurks. Michael Cera is the standout newcomer though, playing Bjorn with a nerdy sense of wonder, lovestruck for Liesl, and harboring his own secret agenda. The remainder of the A-list cast - including, but not limited to, Tom Hanks, Bryan Cranston, Riz Ahmed, Jeffrey Wright, Scarlett Johansson and Benedict Cumberbatch (who steals the show as the ruthless - and possibly god-like - Uncle Nubar, who looks like Rasputin's long-lost brother) - show why they admire and respect Wes Anderson by providing unforgettable performances with very few lines.

As always, the set designs (by expert production designer Adam Stockhausen) make you feel like you're watching a play on screen, with each set piece deigned to bring awe to the viewer as well as accentuate the unique story taking place. Camerawork by cinematographer Bruno Delbonnel also infuses Anderson's well-known format (a smaller aspect ratio, panning from one frame to another to incorporate everything happening - in one hilarious scene an interviewer is talking to the pilot after they crashed thinking Korda is dead only for the camera to pan to the right to see him still alive) to hilarious results. They truly don't make movies like this anymore, apart from Wes Anderson, and the world awaits what marvelous work of art he'll come up with next.

The Score: A+