THE CHRISTOPHERS - - Soderbergh’s Love Letter to Art

Review by Steve Barton II

​Steven Soderbergh is a name that’s always near the surface of the vast ocean of iconic directors over the last 30+ years. Since his feature debut with Sex, Lies, and Videotapes (which earned him honor of youngest winner of the Palme d’Or at Cannes Film Festival), Steven’s career has been a mix both critically and financially. One thing that is always a constant with Soderbergh’s work is his ability to make the camera a character itself and engrosses the audience into this world he’s created. In the Oceans films or Logan Lucky, the dynamic camera makes you feel nervous and thrilled during the heists. With The Christophers, Steven makes the audience a fly on the wall seeing an artist wrestle with his impending departure from the world and the complicated emotions that come with it. The Christophers follows Lori (Michaela Coel), an artist who is hired to forge the unfinished works of a once regarded artist, Julian Sklar (Ian McKellen) by his children. As Lori begins to pull back the layers of Julian’s rough outer canvas, she uncovers the true artist behind his once iconic work.

The Christophers isn’t telling a brand new story and it plays out in a predictable fashion, but that’s not what makes the movie so special. As previously mentioned, the cinematography and the way the camera moves with the characters throughout scenes makes this a movie and not a stage play. Even in moments where Sir Ian McKellen is delivering a piercing monologue seated in his chair, the camera aids the audience and keeps it from dragging. Praise is due for both the lead performances from Sir Ian McKellen and Michaela Coel, giving two brilliantly opposite sides of an artist. Even at the advanced age of 87, Sir Ian is able to deliver paragraphs of poetic dialogue about the struggles of an artist and what it truly means when you’ve left this world behind. Michaela plays Lori as a quiet, reserved young woman who has lost all inspiration to create art but still uses her skills to earn a paycheck. While she mostly plays Lori as subdued and silent, Michaela’s power is in her eyes and that speaks even more than written word on a script. Her character displays how harsh criticism (especially from an idol) can truly incinerate the creative drive. Julian’s character is more understandable once you meet his support system which are his two ungrateful children, Sallie and Barnaby. Jessica Gunning is able to bring the fake, convincing charm like she had in Baby Reindeer and Corden proves once again that he can do the same. With this being the first time James Corden and Sir Ian McKellen have shared the big screen since Cats, the extra effort from both parties was quite apparent. The struggles from Julian’s children can be relatable to children of artists not feeling compensated by their parent’s love and attention, but to others it feels selfish and inappropriate while their father is on his deathbed.


In the end, The Christophers is a personal story that will have many artists reflecting on their portfolios and how they’ve balanced life and their legacies. Soderbergh seems to reflect on his own career through McKellen and practically uses him as a self-insert character, reflecting on his own 30+ years career and how his art will be looked at after he’s gone. Sir Ian is able to bring his years of experience as one of the greatest actors to bring this character to life and creates the perfect foil for Lori. The back and forth between Julian and Lori about art and how paintings, words or any kind of art can have a lasting impact or impression on a person forever. The supporting cast of Julian’s children played by Jessica Gunning and James Corden help fill out the movie by portraying spoiled children who value their father’s work more than the man himself. In an otherwise predictable story, The Christophers delivers a beautiful movie that will help Sir Ian McKellen live on forever! 


The Christophers releases in limited theaters starting April 10th! 


Rating: 4/5