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The Phoenician Scheme (2025): One of Wes Anderson’s Weakest Films Yet

Posted on by Jack Drees

© Focus Features

“The Phoenician Scheme” is directed by Wes Anderson (The Grand Budapest Hotel, The French Dispatch) and stars Benicio del Toro (Sicario, Star Wars: The Last Jedi), Mia Threapleton (The Buccaneers, I Am…), Michael Cera (Juno, Scott Pilgrim vs. the World), Riz Ahmed (Rogue One: A Star Wars Story, Sound of Metal), Tom Hanks (Toy Story, Cast Away), Bryan Cranston (Godzilla, Breaking Bad), Mathieu Amalric (Quantum of Solace, The Grand Budapest Hotel), Richard Ayoade (The Bad Guys, The Watch), Jeffrey Wright (Asteroid City, What If…?), Scarlett Johansson (Black Widow, Sing), Benedict Cumberbatch (The Hobbit: The Desolation of Smaug, Doctor Strange), Rupert Friend (Hitman: Agent 47, Homeland), and Hope Davis (Asteroid City, Greenland). This film is about Zsa-zsa Korda, a wealthy businessman who appoints his daughter as the heir to his estate. During his search for a new enterprise, the two become the target of assassins, terrorists, and tycoons.

Courtesy of TPS Productions/Focus Features – © 2025

Even noticeably solid directors have at least one dud on their resume. Steven Spielberg has “Indiana Jones and the Kingdom of the Crystal Skull.” Joel Schumacher has “Batman & Robin.” Meanwhile, for Wes Anderson, his dud would be his most recent film, “Asteroid City,” which despite its technical mastery and somewhat intriguing concept, had uninteresting characters, boring scenes, and a lackluster ending. I like Wes Anderson. Just read my reviews for “Isle of Dogs” and “The French Dispatch.”

There is a saying that you are only as good as your last project, so with “Asteroid City” somewhat fresh in my mind, I went into “The Phoenician Scheme” with moderate at best expectations. When the movie started, I was pleasantly surprised. Unfortunately, that feeling fizzled real fast.

Courtesy of TPS Productions/Focus Features – © 2025

“The Phoenician Scheme” has a fantastic hook. The movie starts with a plane crash, which apparently is one of several our protagonist has gone through. In that same scene, not even thirty seconds in, someone’s head gets blown off and flies out into the sky. Very exciting stuff! Having a solid beginning can lead to promise down the road. First impressions matter, and this movie impressed me right off the bat. But I would say that this scene is where the movie peaked. Because what follows is a complete and utter disappointment of a snoozefest some like to call a motion picture.

It did not take long for me after finishing “The Phoenician Scheme” to declare that it might be my least favorite of Wes Anderson’s filmography. I still have yet to see “The Royal Tenenbaums” and “The Darjeeling Limited,” but from his work that I have seen so far, this is probably the one that I can say is the weakest. And that is sad, because I was not a huge fan of “Asteroid City.” Much like “Asteroid City,” there are things to like in “The Phoenician Scheme,” but the film itself underwhelmed me. I knew what I was getting out of this film to a certain degree given its director. If you like Wes Anderson’s quirky style, good news, it can be found here. But I simply wish there was a little more substance to accompany it.

Most of my positives regarding “The Phoenician Scheme” have to do with the film’s technical aspects. This film, to my lack of surprise, has stunning production design. The color choices of all the surroundings are meticulously chosen and easy on the eyes. Everything in the frame feels organized. The film makes the most of its 4:3 aspect ratio that Wes Anderson has previously used in films like “The French Dispatch” or “The Grand Budapest Hotel.” Despite its consistent vibrance, the film has an old timey feel to it. Even with the score sometimes, which is another tour de force from Alexandre Desplat. The music commands your attention and is up there with “Isle of Dogs” as one of my favorites in a Wes Anderson film.

Courtesy of TPS Productions/Focus Features – © 2025

Watching “The Phoenician Scheme” is like going to an art museum but you are consistently bored or unamused by every single exhibit. Yes, this film looks extravagant and is obviously well done, but is it worth my time? Judging by my repeated urge to fall asleep in the auditorium, I do not think so. As easy on the eyes and ears as “The Phoenician Scheme” is, I wish I could have used those eyes and ears to see and hear something much more valuable.

As a director, Wes Anderson is undeniably quirky. Part of his quirkiness shines through the performances he gets out of his actors. Like some of his other films, his unique way of getting actors to deliver dialogue tends to stand out. There is something about their lines, at least to me, that lacks realism, but nevertheless tends to work in the environment of his films. Watching “The Phoenician Scheme” however, the dialogue comes off as stiff and stilted. Every line feels as if the characters are reading off their finest essays rather than speaking off the cuff or acting like genuine human beings. Seriously! Every other line in this film feels disappointingly robotic!

To make matters worse, this film, like some of Wes Anderson’s previous work, has a stacked, talented cast. If you were to ask a friend who their favorite actor is, chances are their pick is in this movie! Everyone from Benecio del Toro to Tom Hanks to Scarlett Johansson to Benedict Cumberbatch to Bryan Cranston! This movie is kind of like “Amsterdam” with a pinch more polish!

Courtesy of TPS Productions/Focus Features – © 2025

The worst offender among the cast for me is Michael Cera, seen above doing his best Adam Conover cosplay. For the record, I like Michael Cera. I am a big “Scott Pilgrim vs. the World” fan. And his performance here somewhat reminded me of his performance in that film. They are not the same on the surface, but when it comes to direction and vision, they feel like they strictly belong in their respective universes. That sounds like a good thing, but in the case of “The Phoenician Scheme,” I was bewildered as to some of the choices they made regarding Cera’s character of Bjørn. Cera unleashes a voice for his character that got on my nerves real fast. The more he talked, the more I wanted to melt my brain.

That said, this film is also shaping up to Mia Threapleton’s (right) big break. For those who do not know, Mia Threapleton is Kate Winslet’s daughter. She was in a few projects before this film, but this is my first time seeing her in a role. She did a great job as Sister Liesl. And I do not mean that by nepotism standards. I got the impression that she could potentially have a career as successful as her mother. She is very talented.

I am by no means a Wes Anderson newbie. I have an understanding that he tends to stylize his dialogue, frame objects or people in the most still-like manner possible, and beautify the background so much to the point where it becomes a character of it own. Anderson is a noticeably a visionary director. He is an auteur. But if anything this is a film that so is overwhelmingly packed with Wes Anderson’s style that he prioritized it before characterization and pacing. As I watched this film, I barely felt anything. I did not care much about the characters, even if they are conceptually interesting. The story occasionally reeked of convolution. Overall, I left this film unsatisfied.

Courtesy of TPS Productions/Focus Features – © 2025

In the end, “The Phoenician Scheme” is a complete bore. One can argue that this film feels like something that only Wes Anderson can do. But if that is the case, that is disappointing because what this film ended up being was a slow, albeit pretty looking espionage story that I won’t even remember in the next year. If you want to watch a good Wes Anderson movie go back and watch “Rushmore.” Go watch “Fantastic Mr. Fox.” Heck, even his earliest feature film, “Bottle Rocket,” was quite fun. If this was my first Wes Anderson film, chances are I would not be looking forward to what he has up his sleeve next. I am going to give “The Phoenician Scheme” a 3/10.

“The Phoenician Scheme” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “The Life of Chuck!” Stay tuned! Also coming soon, look forward to my thoughts on “Materialists” and “Elio.” If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Phoenician Scheme?” What did you think about it? Or, what is a bad film from a filmmaker whose work you traditionally like? Let me know down below! Scene Before is your click to the flicks!

My Old Ass (2024): A Short and Sweet Ride Through a Couple Walks of One’s Life

Posted on by Jack Drees

“My Old Ass” is written and directed by Megan Park (The Neighbors, The Secret Life of the American Teenager) and stars Maisy Stella (Nashville, Spirit Riding Free), Percy Hynes White (The Gifted, Wednesday), Maddie Ziegler (Music, The Fallout), Kerrice Brooks (The Prom, How We Roll) and Aubrey Plaza (Parks and Recreation, Dirty Grandpa). This film is about a young girl who gets a chance to talk to her older self. Once the younger self receives advice from her older self, the story showcases the younger self’s journey as she takes or leaves said advice.

There are some ideas that make you go “Why didn’t I think of that?” As someone who is heavily into film, I find myself saying that sometimes about the movies I watch. The more I think about “My Old Ass,” that is a film that fits within that sphere. The only thing is, I am 24. But as someone who watched this movie at such an age, I think it probably would have been a good idea years down the road. Then again, as a 24 year old, I would still say some things to my younger self, telling them my regrets, the things to look forward to, maybe to invest in GameStop for a short time in 2021. By the way, read my review for “Dumb Money” if you want to see people do things in 2021 that I probably should have… Stupid brain.

But I love this idea of an older self and a younger self communicating with each other. And I have to say the way it was executed was very well done. First off, while these two are not dead ringers of each other, I buy Maisy Stella (right) and Aubrey Plaza (left) as the same person, specifically Elliott. They seem to carry a number of mannerisms that make them come off as the same individual, but differentiate enough to the point where they feel like they are not the same age. Aubrey Plaza’s character is giving Maisy Stella’s character advice, including one piece at which she seems to scoff at first, particularly hanging out with her brothers. I bought into the execution of the advice, I bought into the younger self’s reaction. I think the way the movie goes about its concept is hypnotizing and clever.

I also have to say that I came very close to having an enormous complaint about this movie. I thought the way this movie was handled in terms of its structure, in terms of its characterization, and the end results of certain character arcs, would amount to something rather predictable. As we got to the movie’s end, the movie takes a sudden turn that I could have never seen coming. It is arguably the most positive out of left field moment I experienced watching a film this year.

I kind of like the way this movie handles its relationship between the two main selves, and the way the story progresses between them. If you are a teenager reading this, if you look back at your current time in life with no problems or regrets, then you probably have lived a different life than the vast majority of the world’s population. I would say I was smart as a teenager, but I would also say that there are moments in my life where my older self would tell my teenage self to go in a different direction. In a perfect world, my teen self would listen to my older self because, well, that is me. I might as well be my own best teacher, or perhaps more appropriately, my own worst critic. But this movie shows the moments where the teen self has trouble listening to or acknowledging the advice of the older self, but it makes sense. After all, let’s face it, I think everyone can agree on this in regards to any point in our lives, but it is especially true in the teen years. We might not agree on every single piece of advice given to us. We might think we have everything down, but the reality is we might not know what exactly is down the road. Short term we might think something is good for us, but long term? Maybe it is not as good as we think, at least from a certain point of view. There is one particular relationship that plays out where we see this come to fruition.

This movie also shows how we hold our entire time on this earth near and dear to ourselves. While this movie shows how stupid or clueless we can be as teenagers, it also shows us that our choices make us who we are. It shows us that everything happens for a reason, and maybe if we make one stupid or clueless choice, maybe it is worth it because something better lies ahead or there is something else in life to look forward to. There is one quote in the movie, it is also in the trailer, specifically from young Elliott, that I love. Specifically, “If you weren’t young and dumb you wouldn’t be brave enough to do anything.” I adore this quote because not only is it true that many of us tend to become more calculated as we age, perhaps we play things safer. But it also implies that sometimes big risks can lead to big reward. What may seem like an unlikely or dumb decision could also turn out to be a life-changing moment. When we are young, we have our entire lives ahead of us. There is room for error. It never hurts to try something new, take a chance, open our minds. Granted, we should also use logic in our decision-making. But it does not mean we should not be open to risk every once in a while.

Will I watch “My Old Ass” a second time? If we are talking tomorrow or the next week, maybe not, unless someone requests to see it at the theater with me. That said, I probably would not go watch it alone as there are plenty of other movies I need to get around to watching. As far as replay value goes though, I think it would be fun to maybe check out “My Old Ass” again in 15, 20, maybe 25 years. Because I watched this film as someone who is closer to the younger self’s age, but I am curious to know, given the life experience I would have in the coming years, what commonalities I would have to the older self. I would watch “My Old Ass” again for that reason. Well that, and the fact that the movie is in fact quite entertaining.

In the end, “My Old Ass” is a movie that makes you laugh and think. It makes you ask questions about the choices you have made in your life and whether they were worth making. As someone who is still on the younger side, it got me thinking about my future and what kind of path I would like to make for myself moving forward. The chemistry between Maisy Stella and Aubrey Plaza is perfect. A lot of the supporting characters are likable. And I honestly left the movie wanting more. I am going to give “My Old Ass” a 7/10.

“My Old Ass” is now playing in select cities, and will be available in more theaters later this month. For my viewers near me in the Greater Boston area, you can catch the film in select cinemas starting Thursday, September, 19th. Tickets are available now.

Thanks for reading this review! My next review is going to be for the biopic “Reagan.” Stay tuned! Also look forward to my thoughts on “It Ends with Us” and “Beetlejuice Beetlejuice!” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “My Old Ass?” What did you think about it? Or, what is something you would tell your younger self, or even ask your older self? Let me know down below! Scene Before is your click to the flicks!

The French Dispatch (2021): Wes Anderson Spreads the News

Posted on by Jack Drees

Characters! Characters everywhere!

“The French Dispatch” is directed by Wes Anderson (The Grand Budapest Hotel, Rushmore) and stars Benicio del Toro (Star Wars: The Last Jedi, The Usual Suspects), Adrien Brody (King Kong, Predators), Tilda Swinton (Doctor Strange, The Deep End), Léa Seydoux (Mission: Impossible – Ghost Protocol, Spectre), Frances McDormand (Three Billboards Outside Ebbing, Missouri, Fargo), Timothee Chalamet (Interstellar, Little Women), Lyna Khoudri (Papicha, The Specials), Jeffrey Wright (Casino Royale, What If…?), Mathieu Amalric (Quantum of Solace, Sound of Metal), Steve Park (Do the Right Thing, Warrior), Bill Murray (Ghostbusters, Stripes), and Owen Wilson (Loki, Cars). This film is a compilation of a few different written stories brought to life, all of which are told in The French Dispatch.

It’s been nearly a month since I watched this film, but before I went in, I’ve seen a number of Wes Anderson’s flicks. Much like Quentin Tarantino, Anderson has a distinct directorial style that I have not seen from anyone else. He shoots a number of his films with shots containing vibrant colors up the wazoo. One of his more recent pictures, “The Grand Budapest Hotel,” which I enjoyed, shows a mix of aspect ratios from 4:3 to traditional scope widescreen. He has a flair to his work that if I were a director I almost want to resist at the risk of being deemed a copycat. But just because his quirks are obviously present in his directorial style, does not mean that the story in his films are sacrificed. Months ago, I put on “Moonrise Kingdom” for the first time and safe to say, I really enjoyed the connection the two main kids had with one another. The writing had this feel to it that explained everything you needed to know, but felt satisfyingly minimalistic. I don’t really have another way to describe it.

I was rather excited for “The French Dispatch.” I thought the marketing was decent, and hopefully it would be worth the wait after COVID-19 pushed this film back, just like everything else. Having seen it, I honestly think it is on the lower tier of Wes Anderson’s library. This does not say much however, because much like Christopher Nolan and Pixar, an inferior movie from Wes Anderson is still a movie many would kill to make. “The French Dispatch” is interestingly told because it’s not exactly one story, it’s a story that influenced the display of other stories. It kind of reminded me of the “Treehouse of Horror” specials that “The Simpsons” do every Halloween, although in this case it’s not the same characters in each story. I say that because the film is essentially a few different stories all told in the same newspaper. Each one has its set of main subjects, and they’re all after different goals. I kind of like this style of storytelling because there are a lot of movies that I watch nowadays where you have one character and their goals, everything feels very important. This feels lighthearted and fun, but it’s also not over the top. At the end of the day, the movie’s goal is to make the viewer have fun, which I did. Although that also brings in a minor complaint, even though there are characters that sew all the stories together, “The French Dispatch” does not have a specific character that I can look back on and remember as the center of the story, at least one that is particularly interesting when it comes to those at the French Dispatch. And frankly, even though these characters have their quirks, some of which may be due to Wes Anderson’s directing style, there is not one I can say I loved more than any other. This movie has so many characters that it’s hard to keep track of all of them. It especially does not help when you’re reviewing the movie nearly a month after seeing it.

Although just because there are so many characters that it makes the cast for a “Lord of the Rings” movie look small, does not mean that I did not enjoy any of the three stories. All of them were in fact, very good. I was delighted by all of them. The Concrete Masterpiece, which is a pretty creative title, is an interesting look at an artist who has to do time while also focusing on his work. Although of the few main stories, it was probably my least favorite. Revision to a Manifesto was wonderfully quirky, very Wes Anderson-esque. I loved the idea of a chessboard revolution, I would have never thought of that. Then again, I never play chess. If you put me in front of a chess board and it was my turn, I’d just slap the opponent’s pieces off the board and shout “Yay! I win!”

I would never fare well in a chess tournament.

The Private Dining Room with the Police Commissioner, which was the final story told of the bunch, was also a ridiculously entertaining piece of writing brought to life (even if it is fiction). I also think they did a good job at segmenting these stories in a certain way, because if you watch the movie, the real thing that connects all these stories together is the fact that they are presented in the same news outlet and are set in similar spots. There is not one specific story that has a main character that is directly tied to another, so they could have played around with all of them in whatever order they choose, but I think in terms of giving this film a satisfying conclusion, this final story was the best one, because not only is it, for what I recall, probably the most action-packed of all the stories presented, but it ends in such a way that is fitting for a finale. Not the story itself, but the aftermath of it where the people are talking about it. I will not go into detail about it, because I would rather have you see the movie yourself and be entertained by it.

If I had anything else to say about the film, I do think it did a good job with both the costuming and makeup. For the record, this film came out in a limited number of theaters the same weekend “Dune” had its wide release, so I got to see Timothee Chalamet (right) in two films on the same weekend. I could tell who Timothee Chalamet was on screen, but at times, at least from my eyes, he did not look like his real self. He looked like he could actually age a bit. But at times he’d also revert back to someone younger. It’s hard to describe. His outfit felt distinguished and he looked like he had his hair done a bit. His outlook was striking, and maybe having “Dune” come out at the same time had something to do with it, but it caught my attention nevertheless.

In the end, “The French Dispatch” is a delightful film that even though it is not Wes Anderson’s best work, is one I am looking back on with a smile. To be frank, as I wrote this review, I thought it would be fun to maybe watch it a second time. Maybe not in a theater, unless nothing else was out and I wanted to use my A-List for a free film. Either way, Wes Anderson made a delightful movie. The cast is incredible, although I wish I remembered all the characters. Although maybe that’s the advantage of a repeat viewing in this case. There’s so many characters, that they can only be appreciated in multiple viewings. I’m going to give “The French Dispatch” a 7/10.

“The French Dispatch” is now playing in theaters everywhere.

Thanks for reading this review! If you enjoyed this review, be sure to look forward to my reviews for “Last Night in Soho,” “Eternals,” “Ron’s Gone Wrong,” and “King Richard.” I cannot wait to get these reviews out for you all. I was gonna go see “Ghostbusters: Afterlife” this weekend, although I don’t know if I have the time. I was planning on seeing it with a couple other people, but it’s more or less a matter of what time works for them, as opposed to me. So a review may be coming, but I won’t be seeing it right now. If you want to see this and more on Scene Before, follow the blog either with an email or a WordPress account! Also, check out the official Facebook page! I want to know, did you see “The French Dispatch?” What did you think about it? Or, since I brought it up… What is your favorite “Treehouse of Horror” segment from “The Simpsons?” My favorite would probably have to be “Citizen Kang,” the one that coincided with the 1996 U.S. Presidential Election. Scene Before is your click to the flicks!