Hobo With a Shotgun
Its authenticity is both its greatest strength and its greatest weakness.
The Phoenician Scheme belongs to that crop of Anderson films in which the filmmaker’s own cleverness overwhelms any skerrick of humanity that might have ended up on the screen.
Tost strives to reach beyond the basic parameters of his story, not only to lasso some large and uncomfortable themes but to craft a borderline absurdist black comedy around his bleak narrative.
Ari Aster mistakes amplitude for creative insight, inflating a slender conceit about childhood trauma into a three-hour pageant of middle-aged humiliation.
It doesn’t disguise the fact that these situations that give rise to laughter are often, at their core, very sad.
By presenting the journey from varying perspectives, the circuitous story weaves a robust, if messy, emotional tapestry.
It is an extended visual essay actually criticizing violence in film, pointing the finger at the audience who has collectively inched its way toward such a cinematic experience.