Justin Chang

And there are other Anderson alums in the mix, too, like Bill Murray, Scarlett Johansson, Richard Ayoade, and Hope Davis. The first-timers, though, make the strongest impressions. Riz Ahmed plays an endearing Phoenician prince, and Michael Cera is delightful as a nerdy Norwegian entomologist named Bjorn. The most moving performance comes from Threpleton.

And there are other Anderson alums in the mix, too, like Bill Murray, Scarlett Johansson, Richard Ayoade, and Hope Davis. The first-timers, though, make the strongest impressions. Riz Ahmed plays an endearing Phoenician prince, and Michael Cera is delightful as a nerdy Norwegian entomologist named Bjorn. The most moving performance comes from Threpleton.

Her Liesel has the radiant self-possession of the French icon Anna Karina, who gave one of the all-time great nun performances in Jacques Rivette's 1966 classic La Religieuse. Although Anderson's films are often suffused with themes of spirituality, morality, and grace, he seldom engages the subject of religion as directly as he does here.

Her Liesel has the radiant self-possession of the French icon Anna Karina, who gave one of the all-time great nun performances in Jacques Rivette's 1966 classic La Religieuse. Although Anderson's films are often suffused with themes of spirituality, morality, and grace, he seldom engages the subject of religion as directly as he does here.

Her Liesel has the radiant self-possession of the French icon Anna Karina, who gave one of the all-time great nun performances in Jacques Rivette's 1966 classic La Religieuse. Although Anderson's films are often suffused with themes of spirituality, morality, and grace, he seldom engages the subject of religion as directly as he does here.

In a way, the father-daughter relationship is a metaphor for God and money, in which Corda's endless pursuit of riches keeps bumping up against Liesel's strong sense of faith and social justice. The Phoenician scheme may present itself as a fabulous piece of stylized escapism, but it's hard to watch it and not think about the oligarchs of today.

In a way, the father-daughter relationship is a metaphor for God and money, in which Corda's endless pursuit of riches keeps bumping up against Liesel's strong sense of faith and social justice. The Phoenician scheme may present itself as a fabulous piece of stylized escapism, but it's hard to watch it and not think about the oligarchs of today.

In a way, the father-daughter relationship is a metaphor for God and money, in which Corda's endless pursuit of riches keeps bumping up against Liesel's strong sense of faith and social justice. The Phoenician scheme may present itself as a fabulous piece of stylized escapism, but it's hard to watch it and not think about the oligarchs of today.

Anderson's style is often described as whimsical, but here he's made a movie about the literal whims of tycoons. The film has its signature visual touches, full of symmetrical compositions and exquisite textures and details. But there's an uninviting coldness to the backdrops themselves. A rich man's fortress, a half-built railway tunnel, a fancy but dim nightclub.

Anderson's style is often described as whimsical, but here he's made a movie about the literal whims of tycoons. The film has its signature visual touches, full of symmetrical compositions and exquisite textures and details. But there's an uninviting coldness to the backdrops themselves. A rich man's fortress, a half-built railway tunnel, a fancy but dim nightclub.

Anderson's style is often described as whimsical, but here he's made a movie about the literal whims of tycoons. The film has its signature visual touches, full of symmetrical compositions and exquisite textures and details. But there's an uninviting coldness to the backdrops themselves. A rich man's fortress, a half-built railway tunnel, a fancy but dim nightclub.

It's as if we're seeing the hollowness of extreme wealth. In some ways, this is one of Anderson's darker, angrier, more violent films. One of the first things we see is a man being blown in half by a bomb intended for Korda, who's the target of multiple assassination attempts. Whenever he's in danger, Korda says, Which is hardly reassuring to those around him.

It's as if we're seeing the hollowness of extreme wealth. In some ways, this is one of Anderson's darker, angrier, more violent films. One of the first things we see is a man being blown in half by a bomb intended for Korda, who's the target of multiple assassination attempts. Whenever he's in danger, Korda says, Which is hardly reassuring to those around him.

It's as if we're seeing the hollowness of extreme wealth. In some ways, this is one of Anderson's darker, angrier, more violent films. One of the first things we see is a man being blown in half by a bomb intended for Korda, who's the target of multiple assassination attempts. Whenever he's in danger, Korda says, Which is hardly reassuring to those around him.

The Phoenician scheme is well aware that men like Korda make life worse for everyone else, which is why I'm still puzzling over the movie's happy ending, which at the last minute engineers a fateful change of heart. The conclusion Anderson leaves us with could be read either hopefully or cynically, for the Zsa Zsa Kordas of the world to do the right thing might well require an act of God.

The Phoenician scheme is well aware that men like Korda make life worse for everyone else, which is why I'm still puzzling over the movie's happy ending, which at the last minute engineers a fateful change of heart. The conclusion Anderson leaves us with could be read either hopefully or cynically, for the Zsa Zsa Kordas of the world to do the right thing might well require an act of God.

The Phoenician scheme is well aware that men like Korda make life worse for everyone else, which is why I'm still puzzling over the movie's happy ending, which at the last minute engineers a fateful change of heart. The conclusion Anderson leaves us with could be read either hopefully or cynically, for the Zsa Zsa Kordas of the world to do the right thing might well require an act of God.

During the pandemic, the Chinese director Jia Zhengke, like many of us, had a lot of time on his hands. He began sifting through a personal archive consisting of footage that he had shot since 2001. He ended up weaving much of this footage, some of which we've seen before, into a gorgeous and lyrical feature called Caught by the Tides.

During the pandemic, the Chinese director Jia Zhengke, like many of us, had a lot of time on his hands. He began sifting through a personal archive consisting of footage that he had shot since 2001. He ended up weaving much of this footage, some of which we've seen before, into a gorgeous and lyrical feature called Caught by the Tides.

During the pandemic, the Chinese director Jia Zhengke, like many of us, had a lot of time on his hands. He began sifting through a personal archive consisting of footage that he had shot since 2001. He ended up weaving much of this footage, some of which we've seen before, into a gorgeous and lyrical feature called Caught by the Tides.