The Phoenician Scheme (2025)

A charming arms dealer heads on the road to redemption in this pristine shot of pure pleasure. It is one of Anderson's funniest, most madcap adventures yet, with a perfect climactic gracenote of melancholy.

Anderson delivers his most elaborate creation yet in this high-wire story of an eccentric tycoon planning an infrastructural spree. Benicio del Toro steals the show as the death-defying protagonist in the director's densest confection.

The critic sees the film as Wes Anderson's intricately designed inquiry into goodness and the protagonist's soul rather than its plot. Del Toro's performance as the shady tycoon is singled out as perfect.

The critic finds it a delightful celebration of the art of the deal and a charming robber-baron in an era that usually vilifies capitalism. The intricate, dazzling world-building and the pleasure of being swindled by Anderson’s craft are singled out.

Wes Anderson's latest is a quaint tale of industrial espionage and a father-daughter story, enjoyable for fans with a rich tapestry of talent and beautiful design. It is still an enjoyable doodle from Anderson.

The critic calls it Anderson’s most emotional and sentimental film, drilling down into the father-daughter relationship amid abundant plot and characters. The jubilantly exquisite design and the story of a ruthless man desperate for his daughter's love are highlighted.

Wes Anderson spins an action-packed espionage caper with a touch of magic, blending signature style with film noir and action beats. The film rewards as a meticulously detailed puzzle when the full picture comes together.

Benicio del Toro and Wes Anderson unite for an espionage comedy-drama where the antihero confronts moral failings and shortcomings as a father against a stunning visual backdrop. What is lacking is a grander idea that would help the Scheme really soar.

The review calls it a minor, fussy comedy of industry that leans on Anderson's visual style and comedic timing but lacks the richer emotional dimensions of his best work, with an episodic structure that feels shallow.

Anderson’s finicky style and ironic distance leave the heart and brain starved despite striking tableaux and some flourishing performances like Michael Cera’s. It remains a delightful diversion but lacks deeper grounding.

The critic finds the film misses the big picture, trading emotional core for grander ideas and failing to sell its high-stakes redemption arc despite strong granular details and performances.

It is textbook Wes Anderson with tighter focus than recent films, impressive world-building and Michael Cera as a standout sidekick. Anderson is at his most fun when bending his own rules while retaining his signature style.

Del Toro is mesmerising and the father-daughter dynamic with Threapleton adds emotional meat, but the story feels flimsy with too many underused stars and the film ultimately does not soar.

The film toys with action elements like explosions in a wry inside joke while remaining very much an Anderson film, with likeable whimsies but too many characters feeling like an afterthought. It works better as comedy than as a father-daughter tale.

The film is enjoyable and executed with Anderson’s usual dispatch but feels less visually detailed and inspired than his earlier work, with less sympathy for the characters. Mia Threapleton delivers a likable lead turn as the standout.

The critic praises Benicio del Toro's lead performance and sees the film as a return to Anderson's emotionally grounded storytelling, highlighting the father-daughter relationship and its humanistic core amid the director's signature style.

The critic calls it one of Anderson’s most enrapturing recent works, witty with arcane references and juvenile humour. It is a pictorial treat with strong contrast between fast-moving events and slow, deadpan characters, plus excellent work from Del Toro.

It is Anderson at his dark, melancholic best, with real depth in the fractured family relationships and a beautiful father-daughter reconciliation at its core. The droll tone and surprising twists keep it funny and engaging despite some byzantine elements.

This is Anderson’s most Andersonian film to date, tender, witty and wondrous, with a dreamlike quality and sui generis lead performance from Benicio del Toro. It delivers a complete delight full of treats and hyper-real scenes.

The film is Anderson’s least engaged despite its sombre tone, with bare frames and little for the head or heart amid skits and cameos. Mia Threapleton shines as the sensational discovery in a quiet, charismatic turn.

The critic describes the film as a dense but undeniably enjoyable saga that doubles as a moving father-daughter tale while exploring the robber-baron spirit of 20th-century capitalism. The meticulous compositions and del Toro’s dignified performance are singled out for praise.

Celebrates the film's visual perfection, playful whimsy, and sublime details in every frame as another fine Wes Anderson fantasy. Singles out Mia Threapleton's dour yet captivating performance and the radical frivolity amid dark themes for praise.

Praises the film as a return to form with a heartfelt father-daughter story and strong performances from del Toro and Threapleton, while noting Anderson's evolving style and new cast members. Singles out the genuine emotional core and earned ending for praise, while complaining about overly verbose espionage dialogue.

The film marks a welcome return to form for Anderson after Asteroid City, with Benicio Del Toro dominating as the shady industrialist Zsa-Zsa Korda in a refreshingly focused story. Del Toro's flawless delivery of Anderson's dialogue and the strong turns from newcomers like Mia Threapleton and Michael Cera are singled out for praise.

The critic calls it Wes Anderson’s best film in over a decade and a delightful return to form with narrative propulsion and tension missing from recent works. They single out the emotional spine in the father-daughter relationship alongside the visual confections and whimsy.

The critic calls it a breezy, hilarious Wes Anderson romp that returns to road-movie mode, praising the strong ensemble performances led by Benicio Del Toro's magnetic turn and Mia Threapleton's nuanced work. They note the cartoonish violence and meta elements about filmmaking add entertainment but can feel vague in their satirical targets.

The critic describes it as a superior Wes Anderson confection with gleaming retro surfaces but enough emotional depth underneath to leave an impression. They single out the poised performance by newcomer Mia Threapleton as a key counterpoint to the quirkier elements and the fun bursts of action.

Views the film as a quirky rumination on a monstrous capitalist seeking redemption through his daughter, emphasizing Anderson's sincerity and tenderness toward flawed characters. Singles out the central theme of devotion and the gory yet amiable portrayal of moneyed ambitions for praise.

Anderson crafts another impeccable diorama that tackles capitalism and spirituality in a breezy yet meaningful way, finding value in balancing extremes rather than choosing between them. The focused smaller cast, especially Del Toro's captivating lead performance, is highlighted as a strength in this challenging but friendly work.