Fest Track On Sirk TV Film Review: THE PHOENICIAN SCHEME [Cannes Film Festival 2025 - Cannes, France]

The context of "The Phoenician Scheme" [Competition] is the one that motivates most Wes Anderson films and while this one is a little more straightforward, it does integrate to the aspect that it is all or nothing. Benicio Del Toro takes the lead here of a chicanerous baron named Korda who everyone seems to want to kill. The film is less dreamy and more Anderson's version of a Cold War thriller replete with his normal comedic elements. Mia Threapelton as his would-be daughter/nun Leisl is perfectly cast because she is more an ingenue. Saoirse Ronan would have been this in the past but Theapelton brings both a coolness and a world weariness without losing her charm which makes her path seem as possible as it is.

Beyond that Michael Cera plays Lund, a would-be tutor in a role that perfectly encapsulates his gifts without overstepping them. The progression has a path with the entire movie based on the element of Korda filling in the gap with his financiers including a duo played by Tom Hanks and Bryan Cranston. Another is with Scarlett Johannson as a cousin (though she is the least of the progression - not because of acting but because of context). The best by far is Geoffrey Wright just because he perfectly matches Del Toro's black comedy underplay of the proceedings. The natural underlying logistics and detail of Anderson's continue in spades. The only off kilter element is a sort of Greek Chorus which is staged as a version of heaven which is neither comedic nor dramatic. It wants to be something in between which makes it at times stagnant. The camera moves are familiar but also Anderson does some interesting change ups here. The opening credits overhead shot is quite cool though still optimized in the aspect of the square.

Also the opening music is jarring and welcomed because it puts a sense of danger into the proceedings which is not something you normally get with a Wes Anderson film. Unfortunately that doesn't keep up for the rest of the film. It progresses dutifully enough and when it reaches its pinnacle with a villainous uncle (Benedict Cumberbatch), it finds itself in another range. The melee that ensues is comic and cartoonish but not really action. It is interesting that these two actors (who can be terrifying when they want to) look like they are play acting in these scenes which is likely part of the irony. Cumberbatch comes in with a low voice aka Smaug so one is expecting something different than what actually happens. But the thrust of it and its eventual resolution really lacks stakes becasue there is not really tension just a pondering lyricism which is what makes Anderson's films indefinitely watchable. B

By Tim Wassberg