Movie Review: The Phoenician Scheme

Though some may view The Phoenician Scheme as yet another narrative maze from filmmaker Wes Anderson, most will likely appreciate and cherish the humor and decidedly off-beat storytelling that the film presents as it careens towards staking its claim as one of the best films of the year.

When he suspects a plot against him, one of the richest men in Europe, Zsa-zsa Korda (Benicio del Toro), decides to make his only daughter – Liesl (Mia Threapleton) – the heir to his estate. Then, as Liesl (who also happens to be a nun) and Korda begin traveling to shepherd a new business deal, they become the target of assassins and terrorists, as well as fellow less-than-savory businessmen.

What follows is a tale of corporate espionage and violence that only a filmmaker like Wes Anderson can spin. Working from a script penned by himself and Roman Coppola, Anderson crafts his usual tapestry of the absurd and only slightly off-center to tell a story that resonates unusually well in the often surreal world we find ourselves living in today.

As Liesl and Korda bond during their adventures abroad and the details of their family history and business are revealed, the tapestry of Anderson’s film becomes increasingly elaborate and more beautiful as the film unfolds.

Throughout, the usual stable of actors frequently utilized in Anderson’s films surface to deliver solid and often hilarious depictions of their characters. Among those appearing, Liesl’s tutor, Bjorn Lund (Michael Cera), is afforded probably the most screentime to develop into a full-fledged character as he accompanies father and daughter during a good portion of their trip. Other actors come in, make their mark, and then depart having moved the plot along in some way or stolen scenes in another – such as Tom Hanks, Bryan Cranston, Benedict Cumberbatch, Jeffrey Wright, or even Bill Murray (who plays God) – but none stay longer than the main actors.

Benicio Del Toro (left) as Zsa-Zsa Korda and Mia Threapleton as Liesl in “The Phoenician Scheme.” Photograph: Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.

Holding Anderson’s world together are familiar figures such as Alexandre Desplat, whose music accents the splendid visuals provided by cinematographer Bruno Delbonnel. Adam Stockhausen’s production design too gives the film the distinctive otherworldly look of Anderson’s other films. The editing courtesy of Barney Pilling moves the story along in a brisk and often easy manner that never gets too bogged down with the fantastical elements present within the story.

While The Phoenician Scheme may be one of the more labyrinthian narratives offered by Wes Anderson in some time, it rarely feels that way as there is a simplicity to the story that allows it to be both relatable and esoteric at the same time. It is a work of art by a true artist.

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Mike Tyrkus

Editor in Chief at CinemaNerdz.com

An independent filmmaker, co-writer and director of over a dozen short films, the Editor in Chief of CinemaNerdz.com has spent much of the last three decades as a writer and editor specializing in biographical and critical reference sources in literature and the cinema, beginning in February 1991 reviewing films for his college newspaper. He was a member of the Detroit Film Critics Society, as well as the group's webmaster and one-time President for over a decade until the group ceased to exist. His contributions to film criticism can be found in Magill's Cinema Annual, VideoHound's Golden Movie Retriever (of which he was the editor for nearly a decade until it too ceased to exist), the International Dictionary of Films and Filmmakers, and the St. James Film Directors Encyclopedia (on which he collaborated with editor Andrew Sarris). He has also appeared on the television program Critic LEE Speaking alongside Lee Thomas of FOX2 and Adam Graham, of The Detroit News. He currently lives in the Detroit area with his wife and their dogs.

@miketyrkus

Mike Tyrkus

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