Movie Review: Wes Andersons 'Phoenician Scheme' is like Wes Anderson like a Wes Anderson film can be

“They say you killed my mother,” the young nun tells the shady tycoon. “I feel the need to address it.” There is something about the deadpan delivery and the clear way that makes you sit upright and take note of Liesl, and even more of Mia Threapleton, who plays her in the “Phoenician scheme.” (And there’s another thing, too obvious to ignore: Son, she ever looks like her mother, Kate Winslet.) A nice presence, despite her dry-as-dust-tone, Thrapleton makes a wonderful Andersonic debut here as half the father-daughter duo, with Benicio del Toro, which drives the latest creation of the director. Their rising relationship is what stands out in the midst of the well -known Andersonic details: the aesthetic image book. The careful production design (down to the fascinating closing credits). The main tackle. The ‘Who’s Who’ of Hollywood Comos. And especially the complicated – no, extensive; No, labyrinths – plot. Indeed, it seems that Anderson is leaning here in some of these traits, giving the impression to become even more, well, Wes Anderson than before. He will probably rejoice his avid fans, but maybe lose a few others with the plot, which becomes a little exhausting to follow as we reach the center of this story. But what is the Phoenician scheme anyway? It is a dull, ambitious, somewhat corrupt dream of one anatole “ZSA-ZSA” Korda (Del Toro), one of the richest industrialists in Europe, to utilize a large world area. We started in 1950, with another assassination attempt in Korda’s life – his sixth plane crash, to be exact, which occurs while smoking a cigar and reading about botany. Suddenly, in an extremely entertaining pre-credit sequence, Korda is in the cabin, and he eliminated his useless pilot and directed his own rescue, and asked if he should fall into a wheat or soybean field. The media mourns his passing – and then it comes up, one eye mutilated and bites in a wheat maize. As usual, reports of his death were … You know. Korda, who has restored on his estate, with some fantastic, tiled bathroom floors, calls Liesl from the monastery where he sent her at the age of 5. He wants her to be his only heir – and Avenger, his abundant enemies will find him. His plans are contained in a series of shoe box. But Liesl is not very interested in the Korda and Phoenician infrastructure scheme. What she wants to know is who killed her mother. She also mentions that they have not seen each other in six years. (“I apologize,” he says.) And she wonders why none of his nine sons, young boys he holds in a dorm, will be heirs. But Korda wants her. They agree to a trial period. We do get the creeping feeling Liesl will never get it back into the monastery – maybe it’s the red lipstick, or the affinity she develops for jewels? But we wander off. We should have mentioned all the tutor and insect expert, Bjørn. In his first Anderson film, but probably not the last, Michael Cera inhabits this character with just the right mix of dedication and self-awareness. “I could eat a horse,” he thought in a cunning quasi-Northern accent before lunch, “and easily a pigeon!” Now it is on the way they are about to secure investments in the scheme. We will not end up in the financial treats Non-us writers have a word-length limits, and your readers have patience boundaries. But the journey involves – of course! – a long series of characters that could make Anderson live. Among them: The Sacramento Consortium, AKA Tom Hanks and Bryan Cranston, two American guys hanging their financial dedication to the outcome of a horse match. Subsequently, it was to Marseille Bob (Mathieu Amalric), and then to Marty (Jeffrey Wright), leader of the Newark syndicate (we are not talking here Jersey, but Upper Eastern Independent Phenicia), which offers a blood transfusion to Korda, because O YES, he was shot during the previous meeting. (Don’t worry, the man is indestructible.) Then there is cousin Hilda (Scarlett Johansson, who continues with the Como parade), with whom Korda wants to marry to get her participation in the investment. And then on the plane again, the group is punished by a fighter jet. Soon it will be revealed that one of them is a mole. We will not tell you who, although it is difficult to say if something is really a spoil here as Benedict Cumberbatch with a very fake beard appears as Uncle Nubar, who is someone’s father or killed someone, and a slack-stick battle with Korda, complete with vases. We should also not tell you what is happening to the Great Ol Scheme – it was about the journey anyway. And about Korda and Liesl, who discovered things over each other by the end, but, even more, about themselves. As far as Liesl is concerned, at the end, she is stylishly dressed in black and white – but certainly not in a habit. As someone famously said about Mary in ‘The Sound of Music’, ” Somewhere there is a lady I think will never be a nun. ” The Phoenician scheme ‘, a focus, contains exemption, is by the Motion Picture Association a judged PG-13 assessed’ for violent content, bloody images, sexual material, nude images and smoking throughout. ‘ Roary: 101 minutes. Two and a half stars out of four.