Ian McKellen is at his gasbag best in the art-world dramedy ‘The Christophers’

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Ian McKellen seems to be having a wonderful time playing a self-absorbed painter in Steven Soderbergh’s lighthearted film, “The Christophers.” He portrays Julian Sklar, a former art world star who once earned millions and stirred controversy with his work. Now, he’s famous for being the antagonist on “Art Fight,” a reality show where he gleefully crushes the dreams of aspiring artists.

Julian, critical of his own work, hasn’t painted in years. His children, Barnaby and Sallie (played by James Corden and Jessica Gunning, known from “Baby Reindeer”), are selfish and lack artistic ability. They hire a struggling art restorer, Lori (Michaela Coel), to finish a series of unfinished portraits Julian started of a former male lover, which were gathering dust in the attic. Barnaby tells Lori it’s not exactly forgery, but rather completing the portraits by building on what Julian began.

The show features some truly excellent dialogue, and this line is one of many standouts. Veteran actor Ian McKellen, playing Julian, delivers most of these lines while holding a champagne glass and rambling on about topics like humidifiers, cancel culture, and an oddly-scented doctor. He clearly believes he’s captivating his audience. However, his new assistant, Lori, a young Black woman who was misled about the job, simply stands by silently. A snapshot of their first encounter would perfectly illustrate the stark contrast between them.

Ed Solomon wrote the screenplay, and he previously worked with director Steven Soderbergh on the 2021 crime film “No Sudden Move.” The story unfolds in an unpredictable way, focusing mostly on Julian and Lori as they deal with their irritating children and constantly threaten to leave. I found myself laughing every time James Corden and Annie Gunning appeared to endure more comedic mistreatment – Soderbergh even films them as if they’re a solid wall of foolishness, often positioning them side-by-side like the iconic Tweedledee and Tweedledum.

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With upcoming projects like ‘Avengers: Doomsday’ and a new ‘Lord of the Rings’ film, the Academy Award-nominated actor is also hoping to return to performing on stage, following a frightening accident.

It’s widely accepted that the art world is unfair. Lori, a painter as skilled as Julian, barely makes ends meet working in a food truck and sharing an apartment with other struggling artists. Meanwhile, Julian lives in luxury, owning two expensive townhouses filled with antiques. He once deliberately sold a valuable painting for next to nothing as a rebellious act – a gesture that represents a huge sum of money to Lori.

Even a simple drawing by Julian would be more meaningful than anything Lori has ever created, which is why it’s so frustrating that he’s choosing to make quick money by recording short videos for fans who only know him as the villain from his TV show. He delivers superficial advice under a bright light – telling one person to drop out of art school, and then just rushing through a birthday message. It’s ironic, because even the idea of a TV show focused on art feels inspiring, especially for those of us who love watching artists like Bob Ross.

The film barely explores why Julian’s work is so much more valued than Lori’s, simply pointing to factors like age, gender, the time period, fame, and skill. Julian himself would likely argue that being an older white man puts him at a disadvantage in today’s climate. However, the film doesn’t really delve into these other reasons either. It would have been interesting to see Julian confronted with someone new who could replicate his talent. But truly comparing Lori’s work to his would force the film to actually demonstrate the quality of their art, which it avoids, preferring instead to focus on the surface level.

It doesn’t seem Soderbergh actually takes sides in their conflict. He prefers to observe from a distance, almost as a hidden spectator. However, if you look closely, you can understand what draws him to this situation. Like Julian, Soderbergh has often talked about retiring, and he recognizes how frustrating it is when an artist declares they’re done creating. Similar to the forgotten paintings mentioned in the story, every filmmaker has their own abandoned projects lingering in the back of their mind – cherished concepts they may never fully realize.

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So, Steven Soderbergh, who usually operates the camera himself – the guy who brought us “Traffic” and won an Oscar for it – got this idea for a really intense horror film. It was going to be shot entirely from one person’s point of view, and he knew it would be physically demanding to pull off.

Even though Soderbergh seems to relate to the idea of artistic struggle – he actually releases films more often than most directors – I think he still views Julian’s inability to paint as somewhat sad. Julian only needs basic supplies and motivation to create, while filmmakers today are completely dependent on wealthy backers.

What always strikes me about Steven Soderbergh is how incredibly resourceful he is. He often handles the editing and cinematography himself, but more than that, he genuinely loves finding new ways to tell a story. It’s a unique approach – you rarely hear anyone being hailed as ‘the next Soderbergh,’ do you? It feels like he sees imitation as creatively stifling, almost as boring as another predictable sequel. Though, I have to admit, even his more commercial work like “Magic Mike” and the “Ocean’s” films have a playful, inventive energy – they’re less like standard blockbusters and more like these wonderfully weird, pop-art creations.

Paired with McKellen’s flamboyant performance, Coel feels somewhat reserved. While she confidently matches his energy, it’s challenging to portray a character who keeps her feelings hidden, especially when the story requires her to be both sensible and overly concerned with political correctness. Her sharp cheekbones hint at a hidden drive, but the film truly shines when she finally confronts Julian with a powerful and insightful rebuke. She may not be McKellen’s successor, but she offers a more thoughtful critique than his famously dismissive comments about art on television.

Honestly, the best part of this film is watching Ian McKellen just completely steal the show. He gives such a bold, unforgettable performance, holding nothing back. There’s this one scene that really stuck with me – he answers the door practically undressed, and when asked to cover up, he throws on a trench coat. It sounds strange, but the way he wears it – leaving one shoulder bare – somehow makes him seem even more unsettling and exposed. It’s a brilliant, daring choice and completely captivating.

The movie is filled with amusing moments that make it enjoyable. Locals in Los Angeles will especially appreciate a scene where characters agree to meet up, knowing it will never actually happen – the classic “let’s do lunch” promise. While it might seem slight, I think this film has a surprising depth, like a Rothko painting. But I understand if others simply see it as straightforward and uncomplicated.

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2026-04-12 21:19