Christophers, The: Soderbergh’s Art Satire, Starring Ian McKellen and Michaela Coel in Top Form

Blast from the Past: Soderbergh Career Revisited (Long Reviews of Each Film)

Michaela Coel’s Defiant Poise and Ian McKellen’s Wit Make for Suitable Match in Soderbergh’s Art Satire

Grade: B (***1/2* out of *****)

The Christophers
Theatrical release poster

Jessica Gunning and James Corden also star as siblings wishing to cash in on the death of their estranged father, a once-renowned painter

Michaela Coel and Ian McKellen in The Christophers. — Michaela Coel, Ian McKellen

McKellen plays Julian Sklar, looking the declining painterthat he is, in a rumpled plaid coat, scarf and beret, living in a rambling townhouse on posh London square. The place is decrepit, cluttered with numerous canvases, papers.

His repute as art world figure waned long time ago, but his celebrity rose after his productivity had petered out, when he became judge on the TV reality contest, ironically titled Art Fight, commeting on largely awful paintings of children and housewives. The notoriety gained from being vicious on national TV has earned him meager income; he now owns laptop and LED donut lamp in place of easel. Also, he drew TV coverage for a “Sidewalk Salon,” when he sold his paintings at bargain prices.

Among Julian’s prized works were two series called “The Christophers,” named for a significant figure in his life, whom he recalls with sadness and regret.

He scathingly refers to the scavenger children as “buzzard Barnaby” (James Corden) and “the hyena Sally” (Jessica Gunning).

There are rumors that a third series of Christophers exists unfinished, which could potentially go for millions if they were ever completed and put on the market. It’s that series that Barnaby and Sally plan to get their money-grubbing paws on, having already burned through the considerable sum they made off other paintings by their father.

They contact Lori Butler (Coel), who was at College with Sally, though Julian later points out that his pushy no-talent daughter enrolled via the nepotism program. (A painting by Sally dragged out to prove her father’s point is the movie’s most brilliant sight gag.)

Since Lori’s art restoration business dried up, she’s been running a food truck. But Sally remembers her skill at copying other artists’ work to the finest details.

Sally and Barnaby convince Lori to get hired as their father’s assistant, then gain his trust and full access to his house, so that she can remove the eight unfinished canvasses from storage, complete them and then return them to storage to be claimed after their father’s death.

They also remind Lori of her acrimony toward Julian: “We know why you hate him. Think of this as a way to get revenge.”

In a funny moment, Julian reveals that he knows exactly who and what a presumaby art world novice is. “Never underestimate the internet prowess of a man who has spent decades Googling himself.” (stab at Google global dominance).

He reads excerpts from blistering article Lori had writte about him, in which she noted: “His only outrage against cancel culture came after he had been canceled himself.”

It’s revealed that Sklar was Lori’s inspiration to become an artist, only to crush that spark years later.

Always shrewd and alert, she stuns Julian into speechlessness with detailed and analysis of Series 1 and 2 of “The Christophers,” in terms of technique and his emotional state. And so she is able to recount when exactlyJulian fell in love and when come out as queer (An issue of special pertinence to McKellan as out gay actor).

Throughout his career, Soderbergh has proven himself a great director of actors, evident here whenever McKellen or Coel are onscreen, especially when they are together.

McKellen has played seamlessley offense with wicked glee (on stage and screen), but, as a pro, he knows that showing vulnerable hurt will enrich his performance. And it does.

Coel, the fearlessly bold star of TV’s I May Destry You is a suitable foil, hiding her feelings behind deadpan delivery, but, being a naturally physical performer, she exhibits the proper body gestures when shooting her barbs.

But, alas, The Christophers is a second-tier Soderbergh work, aiming (not always effectively) to offer more serius ideas about the nature of real art, the necesary strictures of commerce, and the notion of authorships, ownership and legacy.

When I interviewed, in 2001, Brad Pitt, one of many stars in Soderbegh’s blockbuster Ocean’s Eleven, he observed: “Soderbergh is one director who’s incapable of making unintelligent films.”