Benicio Del Toro and Michael Cera are essentially wingmen to Kate Winslet’s daughter, making a breakthrough big screen turn in Anderson’s enjoyable yet airless ensemble rompWes Anderson has contrived another of his elegant, eccentric, rectilinear comedies - as ever, he is vulnerable to the charge of making films that stylistically resemble all his others, and yet no more, surely, than all those other directors making conventional films that resemble all the rest of their own conventional work. The Phoenician Scheme is enjoyable and executed with Anderson’s usual tremendous despatch, but it is somehow less visually detailed and inspired than some of his earlier work; there is less screwball sympathy for the characters, and it is disconcerting to see actors of the calibre of Tom Hanks, Willem Dafoe and Scarlett Johansson phoning in tiny, deadpan, almost immobile cameos. But there is a likeable lead turn from Mia Threapleton, an eerie visual and aural echo of her mother, Kate Winslet. The absurdly opaque and pointless “Phoenician Scheme” of the title is a plan by notorious plutocrat-entrepreneur Zsa-Zsa Korda (Benicio Del Toro) to dominate the economy of a fictional Middle Eastern nation with an interlocking series of mining transportation and fishing ventures, by using exploitative slave labour and moreover manipulating the agricultural market in such a way as to cause famine.To this end, he has signed investment deals with various relatives and associates, including Marty (Jeffrey Wright), Cousin Hilda (Scarlett Johansson), Marseille Bob (Mathieu Amalric) and his brother, Uncle Nubar, who may incidentally have murdered Zsa-Zsa’s wife – and is played by Benedict Cumberbatch with a fierce beard and kohl eyeliner, like Rasputin in a silent film. His daughter is Liesl, a novitiate nun (Mia Threapleton) and in true Michael Corleone style, it appears to be her dest