24/05/26

Cineworld, Edinburgh

Julian Sklar (Ian McKellen) was once a successful and much-revered artist, whose early works exchanged hands for millions of pounds apiece. But after his residency on a TV art show, where he became known for tongue-lashing young wannabes, his star has declined somewhat – and lately he spends more time recording asinine Cameo messages than exploring what’s left of his artistic gifts.

Lori Butler (Michaela Coel) works as an ‘art restorer’ and has a knack for forgery – which is why she’s contacted by Julian’s estranged children, Sallie (Jessica Gunning) and Barnaby (James Corden), who think they may have a job for her. It’s come to their attention that their Dad has a series of unfinished paintings up in his attic – the titular Christophers – and the siblings also have a buyer in Las Vegas who’s ready to pay out an eye-watering sum for them… when they are finished. Sallie and Barnaby are wondering if Lori might be able to get her hands on said paintings and, er, hurry the process along. After all, octogenarian Julian has a life-threatening illness, so time is fast running out. And they’d be more than willing to cut her in for a share of the proceedings.

What’s more, Julian has been advertising for a new assistant…

Director Steven Soderbergh continues with the least convincing retirement in cinema history (this being his second film this year) but, when he’s capable of creating little gems like The Christophers, I’m not going to be the one to suggest he might take his foot off the accelerator. Essentially a two-hander, this has the pacing and eloquence of a piece of theatre, both McKellen and Coel playing roles that were specifically created for them by screenwriter Ed Solomon. McKellen is on exquisite form as the deliciously foul-mouthed, eternally grumpy Sklar, who never hesitates to say exactly what’s on his mind. And Coel handles the arguably trickier role of Lori with considerable skill, saying so much with a sidelong look or a brief gesture. It soon begins to emerge that Lori has her own reasons for having some skin in this particular game.

The Christophers cleverly nails the injustice of the contemporary arts scene – the ways that reputations can be fuelled and cancelled by simple twists of fate. There’s also an overwhelming sadness to the story as it begins to probe into exactly why those paintings were never finished. Both Gunning and Corden provide humour as Sklar’s offspring, or – as he likes to refer to them – his ‘heirs abhorrent.’ And I like that I really do not see where this is headed until we arrive.

It’s hardly the season for Oscar recommendations, but I’ve rarely seen McKellen in a more perfectly suited role than this. And if Soderbergh doesn’t watch out, people are going to get the impression that he’s still a gifted working filmmaker.

4.5 stars

Philip Caveney