Jessica Gunning

The Christophers

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

Pride 10th Anniversary

30/06/24

Mareel, Lerwick, Shetland

We reviewed Pride on its initial release in 2014 and, ten years later, it’s given this timely rerelease. What strikes me most about it now is how relevant it still feels, the same – or similar – battles still needing heroes to fight them. I’m fascinated too by the stellar cast, many of whom have on to even greater things, notably Andrew Scott and George MacKay – and also Jessica Gunning, who (thanks to Baby Reindeer) has recently been catapulted to wider recognition.

If Pride made me weep first time around, it leaves me in floods today.

I post my original review here and absolutely stand by the observations, though in retrospect I might be tempted now to boost those stars to a full 5.

14/09/14

Cineword, Didsbury

Set in 1984, at the height of the miners’ strike, Pride tells the true-life story of Mark Ashton (Ben Schnetzer), a young gay activist who manages to persuade a group of like-minded friends to form LGSM (Lesbian and Gays Support the Miners). They start to collect money on behalf of one particular group of strikers in South Wales and are so successful, it’s not long before the group meets up with likeable Union man, Dai (Paddy Considine).

He invites them to the sleepy village of Onllwyn, to meet the miners in person – where inevitably, they encounter resistance from some of the more reactionary inhabitants. But after a frosty initial reception, they start to find allies in some rather unlikely places…

Pride is simply irresistible. Cut from the same cloth as films like The Full Monty and Brassed Off, it features a terrific ensemble – Bill Nighy, George MacKay, Imelda Staunton and Dominic West are undoubted highlights, but the overall casting is note-perfect. While it occasionally plays for easy laughs (‘Dai, your gays have arrived!’), it’s never less than entertaining and also takes the opportunity to slip in some genuinely thought-provoking moments.

It would be a cold heart indeed that doesn’t shed tears at the film’s emotional conclusion. Like most ‘true-life’ stories, there remains the conviction that a little dramatic licence may have been exercised on some of the actual events, but nevertheless, this is a successful slice of drama, snappily directed by Matthew Warchus, wittily scripted by Stephen Beresford and one that manages to keep itself just the right side of sentimentality.

4.5 stars

Philip Caveney