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There’s always been authenticity lurking under [Anderson's] artifice, but the raw emotion underlying The Phoenician Scheme peeks out at unexpected times... This sentimental streak still strains against the deliberate flatness of his actors’ line delivery, but a limited range of expression doesn’t preclude any soulfulness. It’s a revitalization, if not an entire rebirth.

You might argue that The Phoenician Scheme is little more than fanciful nonsense – I might be tempted to do so myself – but once on board you’ll want to stick around for the ride, even if much of it is barely comprehensible.

His tender, witty, wondrous The Phoenician Scheme is the most Andersonian Anderson film to date – but then again, they all are, and that’s the fun of them.

[The Phoenician Scheme] is a treat. Unlike its predecessors, it has a story to tell, rather than being an anthology of incidents. It uses all of Anderson’s stylisations but is not primarily about them, as his later films had started to seem.

At times, The Phoenician Scheme veers precariously close to becoming the kind of visually fussy vintage quirkfest that Anderson is sometimes accused of making, but never actually does. What rescues it, periodically, is Anderson’s formidable comedic sensibility.

Whatever The Phoenician Scheme seems to be offering, congratulations to those who are enlightened or enlivened through the consumption of its contrived excess. For those numb to its charms, it’s nothing short of trying.

Even for Anderson fans, The Phoenician Scheme may feel a little byzantine. It’s certainly laced with more overt darkness than some of his other projects... But, for me, this darkness is what makes it sing... There is a seam of deep melancholy here, as there is in Anderson’s best work

[The Phoenician Scheme] is more muted than usual for Anderson, both in terms of its color tones and its story. There’s something somber about it; it hints at a fringe of exhaustion on Anderson’s part, though it doesn’t seem that he’s tired of movies—more that he’s a little tired of the world.

Don’t expect the aching melancholy of Grand Budapest Hotel or the raging, imperfect humanity of Anderson’s earliest films. But, unlike the sprawling Asteroid City and scattershot French Dispatch, the machinations find a charming focus in the thawing between Del Toro and Threapleton. Both actors bring a jouissance to the slightly jaded milieu.

Despite all that supposed intrigue, the plot of The Phoenician Scheme goes awfully slack... The ornately articulated surreality of the film is its main detriment; with no significant tether to real life, The Phoenician Scheme quickly floats away into frustrating abstraction.

The Phoenician Scheme, Anderson’s latest film, won’t have true haters reconsidering their options, but it will entice those who’ve been feeling alienated to rejoin rank... [The film] marks a return for Anderson to the emotionally grounded and intimate narratives that made his more accessible works so popular.

Better than the disaffecting “The Wonderful Story of Henry Sugar” and the too remote “Asteroid City,” but less moving than “Grand Budapest Hotel,” Anderson’s latest is still too artificial to engross emotionally. Simply put, a father and daughter story shouldn’t lack soul, but ‘Phoenician Scheme’ is just a tad few hairs distancing.