Wes Anderson takes his quirkiness ‘to a whole new level’

With Benicio del Toro, Michael Cera, Scarlett Johansson and many more, the last farce full of the director’s a-lister has premiered in Cannes, and is silly but fun.

Just When You Think That Wes Anderson Can’t Get Any More Wes Anderson, HE Makes A Film Which Takes Wes Anderson-Scissness to a Whole New Level, Packing in Yet More of The Quirks That Have BECOM Brigheax, The Brigheaux, Brightteaux, Brigheaux, Brigheaux, Brightteax, Deadpan Delivery of Proudly Artificial Dialogue by an Ensemble of Stars, Many of who are the usual customers (yes, Bill Murray appears). Whether the spectators of their latest comedy out of the ordinary are Anderson fans or Wes-SCEPPPSPEDICs, they are obliged to wonder if the writer’s director will once try a project that does not leave so recognizable.

The good news is that the Phoenician scheme is one of Anderson’s most fun films, with the commitment of the Zaniness that allows you to smile at the Anderson’s essence instead of simply putting your eyes blank. The opening sequence, special, is a crazy pleasure. Benicio del Toro is presented as Zsa-Zsa Korda, a love entrepreneur of the 50s who seems to have bones inspired by the super rich tastes of William Randolph Hearst, J Paul Getty, Aristotle Onassis and Howard Hughes-and Whoal Besbar. First he has seen him smoking a cigar in his private jet, and then surviving one of the murder attempts that are a regular part of his life, and his miraculous hash escape has enough energy to make you irregular.

After that, he thought, the movie quickly goes down to Earth. Back in his Villa Palaciega, Korda has a meeting with her 20 -year -old daughter, Liesl (Mia Theapleton). She is a novitiate nun who has seen in years, but he has no chicken, and not one of her nine children, to inherit the fortune she has done with the treatment and benefit of weapons, among other unpleasant practices. Also to horses to help him with his last and best company, a mass infrastructure scheme that involves a railroad and a dam in a desert in the Middle East. Liesl is not interested, but he does it because to investigate the rumor that Korda murdered her mother, one of her three wives, so she agrees to hang out.

The problem is that the infrastructure scheme has been sabotiated by a secret agent (Rupert Friend) who works for all governments around the world that they hate Korda. Suddenly, below the required financing, you have to fly throughout the region, renegotiating contracts with the help of Liesl and its Norne Norway Norway Nerd, Bjorn (a fool Michael Cera, which could have been born to be in a film by Wes Anderson).

Korda plays basketball with two railway magnates (Tom Hanks and Bryan Cranston) and a prince (Riz Ahmed); He is a gunpoint with a nightclub entrepreneur (Mathieu Amalric); Share a blood transfusion with a shipping tycoon (Jeffrey Wright); And proposes to his second cousin (Scarlett Johansson). Along the way, avoid being killed: every time he has an experience close to death, he visits a black and white sky, where God and Los Angeles are interpreted by Murray, F Murray Abraham and Willem Dafoe.

There are flashes of emotion here and there. On one level, the Phoenician scheme is a ruthless man who learns to be a better person by spending time with his specific daughter. But at another level, the film is about … well, it’s hard to say. The way in which rich industrialists benefit from the exploitation of others could hardly be a more resonant issue at this time, but Anderson does not deepen the consequences of the decades of Korda invocation. He has made a light, capricious farce, but slow and taller, which is episodic in its structure, which depends on the phrases for their humor and, therefore, in its gadgets that the cast and the crew could have invented it as they are. It is one of the ironies of Anderson’s films: in many ways they are planned with obsessive detail attention and, nevertheless, the plot of the Phoenician scheme could but the scribbled leg on the reverse of the envelope in the small hours of the morning. It is very fun, but unless his tolerance to the director’s idiosyncrasy is stratospherically high, the Chans are that the stamp of history is so random so that he cares halfway.

Things are encouraged later with a Tom-And-Jerry style fight between Korda and his malicious half-brother, played by Benedict Cumberbatch with a beak. But Slasticck serves as a final admission that these nonsense should not be tasks too seriously. Some directors boast of making the movies they want to see, and they don’t mind by pleased anyone else. In the case of the Phoenician scheme, he feels as if Anderson and his team were enjoying it more than the public will.

★★★ Renvers