(Life Through the Lens - Photo Illustration/MetroCreativeConnection)

“Nothing means anything, and everything is funny.”

***

Human history has provided us with a pretty small list of “great thinkers.” We are overloaded with shallow and unfiltered thinkers; they are a dime a dozen. The great ones, though, they span the ages and inspire generations.

One such thinker is Greek philosopher (and amateur jean jacket bedazzler) Aristotle. Since 350 B.C., he’s been rockin’ minds and takin’ names. He wrote about logic, psychology, biology, mathematics, ethics, Marvel vs. DC. He wrote extensively on the Harry Potter houses and the many confusing flavors of Mountain Dew. One topic he returned to often was politics.

In looking for a way to tie these two movies together this week, I was struck by Aristotle’s comments on “oligarchy: rule by the wealthy.” He cautions that that system is fraught with issues and destined to collapse. It is simply impossible to sustain and unhealthy to attempt.

He marked that wealth as a societal compass drives decisions to be based on, you guessed it, money. Instead of “common good,” it is “what’s good for the economy of the elite.” Corruption is inevitable because of inflated self-interest for the ruling tier. In short, it doesn’t work — the downtrodden and disparaged masses must eventually topple the fragile and flamboyant crown.

Both movies this week seem timely, but they are nothing but the timeless and tired theme that money cannot steer the ship of society — it can merely sit in the captain’s quarters with champagne and caviar as the storms persist and the rocks leave no survivors.

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Zsa-Zsa Korda (Benicio Del Toro) has enough money to do anything, anywhere, at any time … but he is also universally hated and often almost assassinated. His shady dealings and violent ways have created more enemies than friends, more hushed conspiracies than healthy conversations. He has loved but finds it easier to keep his distance nowadays.

After his most recent assassination attempt, he has a stark realization: if I die, my massive wealth will be slashed and burned. I must name and prepare a successor.

Korda narrows it down to his only daughter, Liesl (Mia Threapleton). Well, Sister Liesl, that is — she is training to be a nun … and hasn’t seen or heard from her father in nearly a decade. When she is given the “good news,” she is hesitant to say the least. A fortune gained through ferocity and continued through cruelty does not quite fit the cloistral life she was going for. If she was to say “yes,” she would need to see sweeping changes immediately.

A final business venture is needed for Korda to solidify and amplify Liesl’s inheritance. One last adventure across the world must be undertaken to personally see to many questionable associates and their many questionable contracts.

Writer/director Wes Anderson was formative in my love for movies; his quirky style and relentlessly artistic eye showed me that movies can be so much more than “typical.” His use of actors — his grasp on composition — his acute awareness of color and texture — he was simply unique in every way. And now, as the last 25 years have passed, so much about life and the world we live in has changed … but Anderson is exactly where I first found him. I am left to wonder: can consistency and accuracy be a bad thing?

Anderson’s films have become very tired. What used to excite me now tends to bore me. His precision now feels formulaic. His quirky style now feels like an algorithm stuck on auteur. I admire his clarity and self-awareness, but his lack of adventure and reluctance to risk have left me feeling … tired.

“The Phoenician Scheme” is predictably just that. Anderson’s directing is exact yet exhausted. His writing, along with Roman Coppola, is light yet lifeless; more than ever before, his plot was almost unfollowable. The cinematography by Bruno Delbonnel was beautifully constructed. The production design by Adam Stockhausen was alive with detail and depth. The costume design by Milena Canonero was wonderfully imagined and executed.

Del Toro was an interesting cast as Korda; his suave demeanor and dead eyes worked well! Mia Threapleton was a surprise as Liesl; she was steady and silly (and her mom is the great Kate Winslet!). Michael Cera, one of my all-time favorites, was playful and fun as Bjorn, the private entomologist tutor. Riz Ahmed was great as always as Prince Farouk. Tom Hanks (as Leland) and Bryan Cranston (as Reagan) even got to play basketball together! Much of the cast was given little to nothing to do, so I will leave it with those.

Is it a bad movie? No. Is it just another Wes Anderson joint? Yeah.

REPORT CARD: “The Phoenician Scheme.”

Grade: C.

Assessment: New day, same story.

***

What could be more unassuming than four bro-dudes spending a weekend together at a mountain retreat carving some fresh powder? Oh, I forgot to mention that the four bro-dudes are tech billionaires — more business moguls than downhill moguls. Oh, I forgot to mention that the mountain retreat was a freshly minted fortress that cost a fortune. Oh, I forgot to mention that the tech created by our four bro-dudes has very recently set the world on fire … literally.

Off Mountainhead, 8 billion peasants are now using free AI software through their smartphones to fake, adjust, appear, disappear, frame and incite. There are massive riots, cities ablaze, racial wars and countless situations on the brink. Meanwhile on Mountainhead, our four bro-dudes are talking about net worth, potential earnings, investment opportunities and global self-advancement. Being high above the turmoil has given our billionaires the distance they need to keep the consumers quiet and inconsequential.

Can you ever have enough money? Can humans transcend our bodies? Can a few outweigh the many?

I am a huge fan of HBO’s “Succession.” Of all its many perfect qualities, the show’s writer Jesse Armstrong is a standout. This is his first attempt at directing his own writing. Now, I can see his vision and hear his cadence … but it is no “Succession.” It comes off sophomoric and unnatural. With only 108 minutes, there is no chance to build complexity or momentum – it is simply four unlikable guys talking about unsavory things. There is an interesting commentary happening with instability and technology … but it doesn’t hit hard enough.

The production design by Stephen H. Carter is immaculate; I’m not sure how much work he did on the Mountainhead compound, but it is beautiful!

The movie’s acting was an uphill battle. The characters, without sufficient time to exist and evolve, all felt false and forced. Steve Carell was admirable as Randall, the group’s elder billionaire; he imbued his character with fear and purpose. Jason Schwartzman was slimy (on purpose) as Souper, the group’s ashamed under-earner; he was desperate and just so needy. Cory Michael Smith as Venis, the group’s social media superstar, was underwhelming. Ramy Youssef as Jeff, the group’s sarcastic conscience, was another miss for me. The four didn’t have much chemistry., which left moments feeling unfinished.

Although disappointing, Armstrong will continue to make work that speaks to our cultural insecurities and follies. That I can get behind! “Mountainhead” can be streamed on HBO Max.

REPORT CARD: “Mountainhead.”

Grade: C.

Assessment: Interesting topic, forgettable outcome.