Wealthy businessman Zsa-zsa Korda (Benicio del Toro) 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.

Experiencing a Wes Anderson film up on the silver screen is always a treat to behold, and his unique mind and complete esoteric style of filmmaking shine in The Phoenician Scheme. Developed alongside longtime collaborator Roman Coppola, The Phoenician Scheme is a genre-splicing black comedy that masquerades as a Cold War-era spy thriller before unravelling into a beautifully bizarre domestic drama about legacy, loneliness, and reconciliation. It’s a film that blurs the boundaries of time, place, and tone — Casablanca meets The Royal Tenenbaums via The Lives of Others, filtered through Anderson’s bespoke lens. In short, it’s a painting of pure Anderson weirdness, and it appears like a work of art come to life

From the very first frame, Anderson’s trademark style roars to life with obsessive precision. The flat-space camera moves, rigid symmetrical compositions, and hyper-detailed production design are all dialled to eleven. But what’s most impressive here is the dynamic interplay between cold and warmth — visually, emotionally, and thematically. A stark industrial palette of slate greys and muted blues gives way to bursts of burnt oranges, crisp turquoises, and golden yellow hues reminiscent of a sun-bleached Mediterranean outpost with Mesopotamian flair. The set design alone is worth the price of admission — a living diorama packed with visual callbacks to 1920s through 1940s cinema, with Casablanca looming especially large as a clear cinematic ancestor.

At the centre of this swirling tale is Benicio del Toro as Zsa-Zsa Korda, the fabulously eccentric, world-weary arms tycoon who just might be the Richest Man in Europe, and almost certainly the most paranoid. With shades of Howard Hughes, Korda is a mesmerising figure of contradiction: a man drunk on power and riddled with regrets. Del Toro leans into the role with laconic cool and twitchy vulnerability, bringing a heavy-lidded charisma that anchors the story’s emotional weight. His performance is magnetic, and beneath all the deadpan wit and Andersonian absurdity lies a man trying desperately, if clumsily, to repair the frayed threads of family he long abandoned.

Enter Mia Threapleton as Sister Liesl, Korda’s estranged daughter turned novice nun, whose abrupt re-entry into his life acts as the emotional and narrative catalyst for the story. Threapleton is a revelation here. With her deadpan stare and monotonic delivery, she slots effortlessly into Anderson’s peculiar universe, evoking empathy and intrigue in equal measure. Her scenes with del Toro sizzle with tension and tenderness, offering a surprisingly earnest father-daughter arc that serves as the heart of this elaborate narrative clockwork.

And then there’s Michael Cera, finally, finally, in a Wes Anderson film, and it’s as perfect as it sounds. As Bjørn Lund, the neurotic, insect-obsessed private tutor to Korda’s nine sons, Cera steals every scene he’s in. Equal parts bumbling and brilliant, he’s a walking tangle of sweaters, suppressed feelings, and closely guarded secrets. His awkward romance with Liesl is both hilariously odd and genuinely affecting, and his performance serves as a brilliant reminder of how potent Cera’s comic timing can be when paired with the right material, with his delivery and goofiness leading to all sorts of laughs. He was born for this world, and now that he’s here, we never want him to leave.

The rest of the cast is filled out by a collection of fantastic performers, some newcomers, others veterans of Anderson’s creative enterprises, and all make their mark. One particular standout is Richard Ayoade as a trigger-happy Marxist revolutionary named Sergio, while Tom Hanks and Bryan Cranston as Leland and Reagan, along with Riz Ahmed as Prince Farouk, lead with del Toro what is the most unexpected and hilarious scene of the entire picture. Benedict Cumberbatch brings a sinister moustache-twirling and villainy to the picture as Uncle Nubar, and he’s bold in his performance, and makes for a presence, and the appearance of a villain that you can’t take your mind off.

What truly sets The Phoenician Scheme apart in Anderson’s filmography, however, is its tonal tightrope walk. While it maintains the filmmaker’s signature whimsy and dry wit, there’s a palpable undercurrent of danger and sadness that gives the story added gravitas. The humour is present, yes, but it’s darker, more ironic, more grown-up. Anderson seems less interested here in crafting a fairy tale and more focused on the existential unravelling of men who once believed they were in control. This is definitely unexpected territory for Anderson to play in, and you have to agree that his choices here in The Phoenician Scheme again mark his stance as one of the boldest filmmakers working today. It’s clear that this entry in his list of works will cause a reaction amongst filmgoers, particularly the Anderson faithful, and many a discussion will be held in relation to this picture.

The Phoenician Scheme is Wes Anderson at his most audacious and evolved. Presenting an inventive espionage tapestry woven with dry wit, emotional sincerity, and aesthetic bravado, it’s a film that surprises as often as it delights, and will certainly cause a reaction from audiences.

Image: Universal Pictures

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Following the events of Sicario, CIA Task Force Commander Matt Graver (Josh Brolin) is commanded to eliminate drug cartels operating in Mexico. Bringing Alejandro (Benicio Del Toro) back into the fold, Graver and his top assassin return to Mexico to start a war between two rival cartels in an effort to silence them for good.

Where Denis Villenenue offered us an initiation into the very heart of darkness with Sicario, this time director Stefano Sollima takes us back to the ‘land of wolves’ as Alejandro coined it, but the stakes are now far higher than before. The Drug Cartels have swapped drug trafficking for people smuggling and this has led to a bunch of nefarious terrorist types gaining entrance to the United States, and chaos does ensue. The US Government’s response to all of this: fight chaos with even more ruthless terror and that’s where we arrive in Day of the Soldado. Sollima and writer Taylor Sheridan craft another twisting narrative that uses multiple story points to craft a story of an all the more dangerous and provocative mission.

Sollima made a name for himself with the critically revered Gomorrah crime television opus, and here he brings that same sense of documentary exploration to this film. The cinematography is intricate, and detailed and really puts you as an audience member right into the heart of the action. And whether it’s the intricate planning or the chime of hot lead leaving the gun barrels of fully automatic assault rifles when it all kicks off you feel every single moment of the film’s gun metal tension. Like it’s predecessor, Day of the Soldado is a nerve-racking watch, particularly in its brutal third act, and you’ll find yourself pinned to your seat as the film twists and turns and again goes into corners that you just can’t see coming.

Academy Award winner Benicio del Toro gives another thunderous performance as Alejandro, the lawyer turned assassin who has made it his life’s work to eradicate the Drug Cartels with total ‘extreme prejudice’. He again channels his man of few words, and explicit action perfectly, but the film’s set-up and the twists that exist allow us to see who this man is on a more personal level. While I will say that we do not witness Alejandro dropping his guard, we do get to see his more human side, or what little of it that still remains. It’s a performance that is again a testament to del Toro’s understanding and experience with the performers craft and he again totally delivers.

Standing next to Alejandro is his brother-in-arms CIA Special Activities Division officer Matt Graver played by the brilliant Josh Brolin who again gives an incredibly focused performance. As in the original Sicario, Brolin’s Graver is a man who ‘gets things done’ and who time and time again has proven that he is willing to not merely cross the line, but erase it entirely to ensure that his mission is completed. He is essentially ‘a rough man who is ready to do violence’ in order to secure the security of his nation and again orchestrates some pretty horrendous activities this time around. But being the master puppeteer that he is as Graver, Brolin also remembers to show off his playful side and there’s plenty of sly black humour that finds its way into his performance.

Both del Toro and Brolin complement each other perfectly and it’s a lot of fun to see them again working together as they decide to unleash a war down in Mexico. There’s a certain playfulness that you get to see working between the two of them and I was very impressed with how they traded off one another here.

Like it’s predecessor the details and realism are once again spot on here. As an example of Special Forces action Day of the Soldado lays everything out in the open and showcases the lethal perfection that these operators have in accomplishing there mission. Kitted out with the best tactical gear and comms imaginable Del Toro, Brolin and their team are an unstoppable force and they readily put the fear of god into the low-level Cartel hitmen that they have been assigned to eradicate. Sollima also examines the rise of the world of for profit military contractors, and how the United States mission as ‘the world’s policeman’ has lined a lot of pockets thanks to defense spending budgets.

In terms of following Sicario on a thematic level, Day of the Soldado takes the stage that where the first film was about the militarization of the police, here the idea of policing has been removed and we are now living in a pro military world where law and order are just words to ensure a mission gets the green light. It’s even more interesting given the film’s analysis of its pro-Republican based setting and how this current day feeling is affecting the war on drugs.

Sicario: Day of the Soldado is a successful follow on and worthy second chapter in what I hope will be an eventual Sicario trilogy. In terms of a cinematic experience it takes you to the very edge and leaves you gasping for breath as to what you just witnessed up on screen. What remains for the sicario himself, Alejandro, still remains to be seen but I’m certain that his war is not over and this devil still has names to collect.

Image: Roadshow Films

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The new trailer is here and it clarifies Alejandro’s mission and the chaos that he intends to level on his enemies. Check it out below:

Here’s the synopsis:

Following the events of Sicario, CIA Task Force Commander Matt Graver (Josh Brolin) is commanded to eliminate drug cartels operating in Mexico. Bringing Alejandro (Benicio Del Toro) back into the fold, Graver and his top assassin return to Mexico to start a war between two rival cartels in an effort to silence them for good.

The new trailer focuses in the mission that Graver and Alejandro take and the rift that develops between these two men. New director Stefano Sollima (Gomorrah) again focuses in on the film’s sense of realism with particular attention to detail on the film’s weaponry and hardware, along with giving us a deeper insight into Alejandro’s frayed and twisted psyche.

Check out my full trailer reaction video for Soldado below and hear my thoughts on the film’s tone and just where this story is going:

Sicario 2: Soldado is not for the faint of heart but it will provide some definite thrills when it arrives in cinemas on June 28.

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The new trailer is a brutal watch. Check out the intensity below:

Here’s the synopsis:

Following the events of Sicario, CIA Task Force Commander Matt Graver (Josh Brolin) is commanded to eliminate drug cartels operating in Mexico. Bringing Alejandro (Benicio Del Toro) back into the fold, Graver and his top assassin return to Mexico to start a war between two rival cartels in an effort to silence them for good.

Sicario 2: Soldado is definitely not for the faint of heart. The trailer is packed out with plenty of intensity and makes its predecessor look like the film equivalent of a daiquiri. Soldado, on the other hand, is 160 proof whiskey with a serious kick to it.

Del Toro once again looks in killer form as Alejandro and while he may have settled his personal vendetta in the original Sicario, here he’s in overtime and his quick reflexes and killer instincts have not wained.

Sicario 2: Soldado is most definitely one of my most anticipated films of 2018 and will arrive in cinemas on June 28, 2018.

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Idealistic FBI agent Kate Macer (Emily Blunt) is enlisted by an elite government task force official (Josh Brolin) to aid in the escalating war against drugs. Led by an enigmatic consultant (Benicio del Toro) with a questionable past, the team sets out on a clandestine journey forcing Kate to question everything that she believes in order to survive.

With an all-star cast and powerful script you shouldn’t need any more reason to line up for this thrilling flick. In case you’re on the fence, here’s the extra push you need:

5. The Wild West 

Set in the dark and dusty plains of the American Border and Mexico, Sicario makes it clear that the Wild West never died, having simply replaced horses with four wheel drives and upgraded to bigger guns. When idealistic FBI Agent Kate Macer (Emily Blunt) first crosses the border, she comes to find herself in a completely alien world where the very question of right and wrong doesn’t exist. Villenenue uses the classic western archetypes to his advantage, but shifts them to suit this new world that his characters operate in where there are no rules, and the white hats have left town forever.

4. Cinematography on the edge 

In Sicario, Villenenue also finds himself blessed with the partnership of noted cinematographer Roger Deakins, and the two shoot one hell of a film together. Deakins captures the crimson dusk and fading light in clear, beautiful strokes which heightens the scope and epicness of the plot. But the biggest test for Deakins comes in the formidable border crossing scene: a tense, nail-biting, journey that is framed beautifully and tracks at the pace of a ticking clock attached to a stick of dynamite.

3. The shadow world

Part of what makes Sicario so compelling is Villenenue’s commitment to detail in the world he finds himself operating in. Centering his story on the shadow warriors of the elite Tier One units of the FBI and their fellow law enforcement organisations, Villenenue takes the time to get their look and actions right, from the kit that they wear to their weapons and tactics. Everything works to create a believable world that will both fascinate and scare audiences.

2. Benicio del Toro’s Muerte Encarnada 

Death takes human form in the shape of Benicio del Toro’s silent and intimidating assassin Alejandro — a lethal man of few words who is brutally efficient in the art of death. From the moment he graces the screen, you know there’s something off about this smooth and silent man with no name. Del Toro fully commits to the role of Alejandro, crafting a frightening and intriguing character who will live on as one of the silver screen’s most legendary antiheroes.

1.  Emily Blunt: a sheep amongst wolves

While del Toro may provide the horror, Denis Villenenue places Emily Blunt at the film’s centre as FBI hostage rescue operative Kate Macer — a thoroughly green agent who finds herself quickly in over her head in this dark and chaotic world. As the only women in Sicaro’s boy’s club, Blunt really steps up to the plate, crafting a performance that guides the audience into the dark and brutal world where they experience the events of the movie first hand as she does. Blunt brilliantly bears the responsibility of playing the film’s moral center, which places her at great odds with her puppet master superior, the sly Matt Graver (Josh Brolin), and the dangerous world in which she now works. Blunt gives a simply stunning performance, and it’s very likely that Academy Gold could be heading her way.

Image source: Roadshow Films.

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A thief, two thugs, an assassin and a maniac: five degenerates who are the last people you’d ever expect to be heroes. When space outlaw Peter Quill (Chris Pratt), steals a mysterious orb he’s in for more trouble than he could have ever thought. Inciting both the rage of his boss, the space pirate Yondu (Michael Rooker), and the radical Kree warlord, Ronan the Accuser (Lee Pace), Quill finds himself with a bounty on his head, and is soon locked up with bounty hunters and best buds Rocket (Bradley Cooper) and Groot (Vin Diesel), the deadly assassin Gamora (Zoe Saldana), and the marauding Drax (Dave Bautista). Forced to work together, this crew of rebels make their escape, and discover that Quill’s orb is something far more dangerous than they could have ever imagined. With nowhere to go, and half of the galaxy hunting them, these ‘Guardians of the Galaxy’ decide to make one last desperate stand against Ronan and his evil forces in order to save the galaxy.

Guardians of the Galaxy is simply phenomenal. No mere comic book movie, this is a compelling space opera with some of the most outlandish and cool characters you’ll ever see on film. Director James Gunn was given trust over these outcasts and he delivered. Gunn crafts a story about a rag tag group of loser outcasts, people that nobody in the galaxy cares about, all of whom have faced unbelievable loss and horror, but through extraordinary circumstances come together to not only form a team, but a family, and who for the first time in their lives get the chance to do something greater than themselves. Whereas the Avengers are heroes in and of themselves, the Guardians only work together, separately their nothing more than criminals and outlaws, but together they can be heroes. Gunn’s passion for these characters and their incredible universe is felt in every frame of film, which the audience absorbs through some kind of visual osmosis. If you don’t know who the Guardians are when you enter the cinema, you will by the time you leave, and you’ll be guaranteed to want more.

Leading this group of rebel outlaws is Peter Quill, the self-styled StarLord played with complete awesomeness by Chris Pratt. Quill is an old fashioned swashbuckler, a rebel with no fear of danger, a swinging ladies man, and the all around coolest cat in the galaxy. Quill, who was abducted from Earth by space pirates The Ravagers when he was a child hasn’t had the easiest life. Through grit and determination he has survived in the universe, and is now trying to steal a piece of it for himself. Pratt pulls off Quill’s mercenary swagger with ease, he’s a modern day Jesse James, complete with laser guns, duster jacket, and a very cool helmet, but while Quill’s a guy who can look after himself in a brawl, it’s usually his quick wit and ability to run with the situation that get’s him out of trouble. It’s Pratt who set’s the tone for Guardians of the Galaxy in the first fifteen minutes of the movie, and he doesn’t disappoint. He’s clearly having a ball with this character and it’s awesome to watch.

Then there’s Zoe Saldana as Gamora, a deadly assassin and the adopted daughter of the mad titan Thanos. Like all the Guardians she’s got issues, and is the initial consciousness that leads them on the path to becoming heroes. Let’s make this clear Gamora is no damsel in distress, she’s one kick ass chick who can rough it up with the boys, while kicking their asses in the process. Saldana has serious poise and grace and brings this to Gamora, and there’s a deadly elegance to how she swings her blades. Saldana is great to watch on screen, and she definitely digs Gamora.

Dave Bautista is Drax. There is no way to dispute this. A hulking marauder feared by all for his ferocity and strength, Drax also carries a tremendous pain that fuels his need for vengeance. Stumbling in with the Guardians, he’s ultimately the one who unites them, as he’ll have no one hurting his friends. Bautista, like Pratt and Saldana was again a wild card entry, and went through an exhaustive audition process to obtain this coveted role, but like all those involved it was his clear passion for the character of Drax, and the desire to make him his own that won him the role. With passion comes power, and Bautista knows a lot about this. Anyone who take’s on Drax will invariably get crushed, and he’s one mean fighting machine. Dave Bautista is Drax, and there’s no other way we’d want it.

And finally we come to Groot and Rocket, all around best buds, and the dual heart of the Guardians of the Galaxy. Firstly there’s Groot, the last of his kind, and who has one very memorable catchphrase, which goes something like “I Am Groot”. It’s Vin Diesel who brings this incredible and unique character to life, and he does a terrific job, again you feel his passion for this character onscreen. But you can’t have Groot without his out of control best friend Rocket, a feral, and very angry genetically enhanced raccoon, who while rough around the edges is actually a hero in waiting, and get’s all the best lines and screen time thanks to Bradley Cooper. It’s also these two who create the most heart felt and tear jerking moments of the film, which will have audiences welling up.

Guardians of the Galaxy also has a compelling supportive cast. Firstly there’s Lee Pace as big bad Ronan the Accuser, a fanatical Kree warlord, who swings his mighty hammer with psychotic enjoyment and who has no value for anyone he considers lesser than himself. Pace really lets loose with how terrifying Ronan is and his presence clarifies just how needed the Guardians are. Karen Gillan is pretty frightening as the morbidly jealous Nebula, and Djimon Hounsou is one ferocious hunter as Korath.

One particular standout is Michael Rooker as Yondu Udonta, the blue skinned bandit leader of the Ravagers. Rooker is the only person who I could see as Yondu, and he really delivers as this cantankerous old space pirate, and Quill’s semi adoptive father and role model. Yondu has a particular love/hate relationship with Quill, and his weapon of choice: a whistle-controlled arrow creates a menacing silence whenever he levels it at anyone. He’s one badass character. There’s also Benicio del Toro as Taneleer Tivan, also known as the Collector, who has an amazing, yet creepy alien zoo, and who with a thoroughly crazed appearance and slightly morbid intentions is one to watch out for. And finally in a very cool cameo appearance, which will define the Marvel Universe, Josh Brolin makes his entrance as Thanos. Nuff said.

Guardians of the Galaxy is an emotionally dramatic, action-packed, extremely funny full on film, complete with its own kick ass soundtrack. It’s so much fun, and while some might see it as a mere Marvel superhero movie, it’s actually something more, something bigger than it was originally intended to be, just like its five main characters. If you want a good time out then head to the movies, strap yourself in, and prepare for one awesome trip across the galaxy.

Image source: Walt Disney Pictures.

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