Wes Anderson brings his peculiarity ‘to a whole new level’

With Benicio del Toro, Michael Cera, Scarlett Johansson and many others, the latest A-Lister-Farce of the director in Cannes Premiere and it is stupid, but fun.

Especially when they believe that Weserson Wes Anderson-Ish can no longer get a film that brings Wes Anderson-custom to a completely new level and grabs even more of the quacks that have become his trademark: the symmetrical tableaux, the brightly colored, creeping costumes, the dead deposits, the proud artificial deposits with one Semble-ensemble ensemble ensemble ensemble ensemble ensemble-ensemble-ensemble ensemble ensemble ensemble ensemble Semble-ensemble-ensemble ensemble ensemble ensemble-ensemble-ensemble-ensemble ensemble ensemble ensemble, From Murray. Regardless of whether spectators of his recent offbeat comedy Anderson lovers or WESCeptics are, you wonder if the author director will ever try a project that is not quite recognizable.

The good news is that the Phoenician scheme is one of Anderson’s funny films, with the obligation to tap, with which you can smile about the Anderson view instead of just rolling your eyes on it. Above all, the opening sequence is crazy treatment. Benicio Del Toro is presented as Zsa-Zsa Korda, a businessman of the amoral 1950s, who is inspired by the super-rich likes such as William Randolph Hearst, J Paul Getty, Aristotle Onassis and Howard Hughes-and also a certain similarity to the patriarch in the royal Tenenbaum in the royal Tenenbaumen. He first saw how he used up a cigar on his private jet and then survived one of the attempts at attacks that are a regular part of his life – and his miraculous escape has enough energy to make it dizzy.

After that, however, the film is quickly to earth. Back in his palace-like villa, Korda has a meeting with his 20-year-old daughter Liesl (Mia Threepleton). She is a novitiate nun that he has not seen for years, but he still wants it -and not one of his nine sons -to inherit the fortune that he has from arms trade and benefit, including unsavory practices. He also wants him to help him with his latest and largest company, a massive infrastructure program with a railway and a dam in a desert from the Middle East. Liesl is not interested, but she wants to investigate the rumor that Korda murdered her mother, one of his three women, so she wants to stand around.

The problem is that the infrastructure scheme was sabotaged by a secret agent (Rupert Friend) who works for all governments all over the world that Corda loathe. Suddenly before the required financing, he has to flies through the region with the help of Liesl and his nerdige new Norwegian secretary Bjorn (a grindable stupid Michael Cera, which could have been in a WESHANDSON film).

Korda plays basketball with two railway tycoons (Tom Hanks and Bryan Cranston) and a prince (Riz Ahmed); It is captured alongside a nightclub -Represario (Mathieu Amalric) with a weapon. He divides a blood transfusion with a shipping magnate (Jeffrey Wright); And he suggests his second cousin (Scarlett Johansson). He avoids murdered on the way: Every time he has a near-death experience, he visits a black and white sky in which God and the angels of Murray, Furray Abraham and Willem Dafoe are played.

There are emotions here and there. On one level, the Phoenician scheme is a heartless man who learns to be a better person by spending time with his determined daughter. But on another level, the film is about … Well, it’s difficult to say. The way wealthy industrialists benefit from taking advantage of others could hardly be a more resonant topic at the moment, but Anderson does not deal too deeply into the consequences of Korda’s decades of connection. He made a light, bizarre, but slow and talkative farce, which is episodic in its structure, and is dependent on humor, and so stupidly in their inventions that the occupation and the crew could have invented it while going. It is one of the Ironien of Anderson’s films: in many ways they are planned with obsessive attention to detail, and yet the action of the Phoenician program could have been scribbled on the back of the envelope in the small hours of the morning. It is a lot of fun, but if your tolerance towards the peculiarities of the director Stratosphere is high, there is a probability that the story seems too random to take care of halfway.

Things later use with a fight between Korda and his malignant half-brother, played by Benedict Cumberbatch with a stick-on beard. But the slapstick serves as the last admission that it should not be taken too seriously. Some directors boast that they make the films they want to see and they don’t care not to please everyone else. In the case of the Phoenician program, it feels like Anderson and his team will enjoy it more than the audience will ever do.

★★★ ☆itch