The Christophers
Ian McKellen and Michaela Coel are at the top of their game in Steven Soderbergh’s wily black comedy about art, celebrity and old age.
Michaela Coel and Ian McKellen
Image courtesy of Picturehouse Entertainment.
by MANSEL STIMPSON
Steven Soderberg's latest film provides fine entertainment especially for those who find pleasure in great performances and literate dialogue. The Christophers, a screen original written by Ed Solomon, is the second cinema release in recent times to give a big central role to Sir Ian McKellen. Since McKellen at 86 is still at the height of his powers it is splendid that he has been given these opportunities and all the more so since he has had to be more cautious about his theatre work since his stage fall in June 2024. He very much relished his role in Anand Tucker's The Critic (2023) and now he has a no less rewarding part in a superior piece. By that I am not suggesting that The Christophers is a masterpiece but on a more modest level it knows exactly what it is doing and functions very well Indeed
It is almost true to say that The Christophers is a two-hander since the whole piece revolves around its two central characters: McKellen plays a painter named Julian Sklar and Michaela Coel appears as Lori Butler who is also an artist but who in addition is skilled at forging works of art. It is this skill which leads to her being approached by Sklar’s two children, Sallie (Jessica Gunning) and Barnaby (James Corden). They sense that their father may not have long to live and want to take advantage of being his heirs knowing that as such they could then make a fortune. Their idea is to be able to sell off a series of uncompleted portraits of their father’s lover Christopher which he had abandoned years earlier. The value of such works would be huge since Sklar was a big name before losing his ability to bring out anything new. All that their plan requires is for Lori to persuade the elderly man that she can be useful to him as an assistant so that she will be on the spot to work secretly in the attic where the discarded canvases remain together with the relevant paints. Apart from being promised a share in the potential proceeds, Lori has an extra reason for agreeing but the details of this only come out late on in the proceedings.
Sklar is portrayed as being astute despite his age and very much in command (he sees through Sallie and Barnaby and has as little to do with them as possible). However, although putting Lori through a sharp, opinionated interview, he regards her as genuine and takes her on. Of course, we knew that he would do so since otherwise there would be no story. From that point on, however, the various twists and turns of the plot are less obvious and provide plenty of opportunities for smart talk about art, its value and the impact of critics as well as developing how Julian and Lori see each other. Eventually confrontations between them lead to greater respect (Lori, for example, proves to have an insightful eye regarding Sklar's work) and, if Sklar’s outspoken comments provide much of the entertainment, McKellen is well aware that the film is stronger for the inclusion of more subtle touches that bring us closer to Sklar’s inner feelings, not least when they relate to the bond which he had with Christopher while the relationship lasted.
If Gunning and Corden appear at intervals to fuel the plot further, the other supporting roles are very limited indeed and this is certainly a film in which much of the attraction lies in what is said. Some may view that as evidence that The Christophers is not very cinematic but, even if it would be easy to imagine this piece as a stage play, Steven Soderbergh is an adept director who has handled comparable material before. Needless to say, under his pseudonyms, Peter Andrews and Mary Ann Bernard, he contributes also as photographer and editor. Those who favour action movies may not find this kind of work to their taste, especially if their idea of surprise developments is linked to huge shocks. However, if what we get here is in a lower key, it is persuasive and not least when it comes to a conclusion that I had not foreseen. Furthermore, simply to observe outstanding screen actors at work is a joy in itself. As written Julian Sklar is indeed the prime role, but Michaela Coel plays up to McKellen and gives the strong performance needed to make their interplay resonate. Her contribution, Solomon’s screenplay and Soderbergh's direction all allow McKellen to give us an example of what great screen acting is all about. Go and enjoy.
Cast: Ian McKellen, Michaela Coel, James Corden, Jessica Gunning, Tilly Botsford, Ferdy Roberts, Daniel Fearn, Lucy McCormick, Le Fil, Dmitri Prokopiev, Dallas Campbell.
Dir Steven Soderbergh, Pro Iain A. Canning and Jim Parks, Screenplay Ed Solomon, Ph Peter Andrews, Pro Des Antonia Lowe, Ed Mary Ann Bernard, Music David Holmes, Costumes Eleanor Baker.
Department M/Butler & Sklar Productions-Picturehouse Entertainment.
100 mins. UK/USA. 2025. US Rel: 10 April 2026. UK Rel: 15 May 2026. Cert. 15.
