Wealthy businessman Zsa-zsa Korda appoints his only daughter, a nun, as sole heir to his estate. As Korda embarks on a new enterprise, they soon become the target of scheming tycoons, foreign terrorists, and determined assassins.
nun espionage dark comedy arms dealer industrialist international organization family abandonment public works father daughter reunion moral transformation assassination attempt mortality family legacy plane crash project management absent father project partners corrupt businessman father daughter estrangement business partners apathetic business man search for redemption female heir
A private user reviewed The Phoenician Scheme (2025)
The Phoenician Scheme
Unlike a few of the more recent Wes Anderson films, I thought this had more of a substantial story to underpin the antics as it follow the quite literally death-defying activities of entrepreneur âKordaâ (Benicio del Toro). Now heâs made his squillions somewhat disreputably and has frequently been the target of assassins, so after this latest attempt sees him face down in the desert, he decides itâs time to make his will. He has loads of sons but just one daughter. Sheâs a nun, sworn to holy orders and is called âLieslâ (Mia Threapleton). Now sheâs not the sort of âLieslâ we saw with Julie Andrews, this one is ruthlessly savvy and switched on as her father embarks on his most ambitious, secretive and toxic scheme yet - and thatâs only going to further irk âExcaliburâ (Rupert Friend) whom we know is running the âSPECTREâ style organisation determined to thwart his plans and see him six feet under. I suppose the snag with this film is that it isnât so radically different, stylistically, from any of his recent stuff nor does the presence of his usual slew of Willem Dafoe, Scarlett Johansson and Tom Hanks et al really offer us much by way of different or substantial characterisations for us to really get our teeth into, and that predictability also impacts a bit on the frankly âMonty Pythonâ style of the humour, but del Toro owns the film well from start to finish and along the way it takes a pop at the vested interest, industrial exploitation and the abusive power of self interest as it moves along entertainingly and in a more logical manner. It hits the ground running and rarely pauses for breath as it reminded me more of âGrand Budapest Hotelâ (2014) than âAsteroid Cityâ (2023). For my money, itâs still not as good as Andersonâs earlier more creatively innovative work, but it is still a fun ensemble effort that benefits from some gorgeous production design and a never ending supply of band-aids.