Film Review – The Christophers (2025)

      The Christophers, 2025.

      Directed by Steven Soderbergh.

      Featuring Michaela Coel, Ian McKellen, Jessica Gunning, James Corden, and Ferdy Roberts.

      SYNOPSIS:

      The estranged offspring of a once-renowned artist engage a forger to finalize his incomplete works for posthumous “discovery” and sale.

      In Steven Soderbergh’s latest work, The Christophers, there’s a lot of narrative juggling that feels almost crafted to be a minimalist, more subdued version of an Ocean's heist but focused on a single household and its familial strife. Written by Ed Solomon, a frequent collaborator, the film showcases a simpler storytelling style from Soderbergh's recent period, leaning heavily on the screenplay and brimming with themes for reflection, especially regarding authorship, the personal struggles behind art, and the influence of critics and admirers.

      The sudden and unexpected character of Barnaby, played by James Corden alongside his sister Sally (Jessica Gunning), leads the siblings to hire the struggling former aspiring artist Lori (Michaela Coel) to assist their dying father, Julian Sklar (Ian McKellen), a faded, once-prominent oil painter. They intend for her to invade his creative domain and forge his series titled The Christophers, which they plan to have discovered and sold for a substantial sum after his passing, with the profits split among them. Julian appears set to leave his children with nothing, did so honestly, as they seem to care little about their father’s legacy and primarily aim to exploit it for their own benefit.

      While the film occasionally delves into some father/son complexities, alongside Julian's personal demons and shortcomings, it portrays him as a vibrant and candid figure in his mid-80s grappling with the reality of his terminal illness and a lack of desire to finish his paintings. McKellen delivers a charming performance as an elderly, chatty, unfiltered character, which, while not groundbreaking in its portrayal of old age, is delivered with sharp wit.

      McKellen possesses an unusual physical vigor, allowing him to move swiftly through the house in conjunction with his overflowing dialogue, which at times feels endless. There are also moments of amusing contradiction, like when he expresses openness to questions but indicates his reluctance to provide answers.

      The filmmaking's brilliance lies in Lori’s sparse interactions with Julian. She remains composed, not angered or frightened, as she strategically dissects Julian's past work and her ability to forge it (it isn’t long before she realizes the true nature of her presence), as well as confronting his damaged reputation stemming from his role as a condescending critic on a TV show called Art Fight, a competition for aspiring artists.

      This film continually hints at various possible paths while shifting character dynamics as if everyone were pieces on a chessboard. At about 95 minutes without credits, it can feel somewhat exhausting, yet the chemistry between the leads sustains it. McKellen’s irritable charm shines through (there’s one sharp insult directed at a random artist that catches everyone off guard, prompting a laugh that quickly feels guilty), but the standout is Michaela Coel, who matches the legendary actor in a performance finely tuned for reactive interplay.

      Additionally, The Christophers utilizes its art-setting to examine the nature of critique itself and highlight the responsibility held by those powerful in any industry regarding how they deliver criticism, especially negative reviews. Even in this context, I find little joy in writing unfavorable assessments, though I acknowledge that my opinions carry less weight than this fictional character’s in his realm; this highlights the need for a reevaluation of how criticism is handled, whether one is a professional or not.

      The narrative progresses, sometimes introducing unexpected twists, while at other times revealing a sense of fatigue from the constant teasing of potential directions. The performances, alongside the film’s thoughtful explorations, render the circular narrative structure of this minor Steven Soderbergh project worthwhile.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder