Following Black Bag and Presence, director Steven Soderbergh has not brought a fascinating watch for a while. The former two films were good enough genre movies, but lacked the cleverness this film had. The Christophers presented a dramedy of witty banter between two great actors. Michaela Coel brought her deadpan, sharp humour to contrast Sir Ian McKellen’s tantalizing monologues. This movie was like a cat-and-mouse game, but without a grand car chase—it dealt more with intelligence versus cunning.
Having all but given up her own art practice, thirtysomething Lori (Coel) divides her time between freelance art restoration and working the window of a food truck. Her fortunes promise to change, however, when she’s approached by the estranged heirs (Jessica Gunning and James Corden) of renowned painter Julian Sklar (McKellen) with a tantalizing proposition.
“This movie was like a cat-and-mouse game, but without a grand car chase—it dealt more with intelligence versus cunning.”
The half-witted children task Lori to apprehend a series of long-abandoned paintings from Julian’s London home, complete the paintings using her masterful imitation skills, and receive a third of the profits from the sale of the paintings following the old man’s imminent death. Lori accepts the gig, infiltrating Julian’s home under the pretense of becoming his new assistant, but the ruse quickly goes awry in a series of titillating twists and shifting allegiances.
Ed Solomon wrote two strong protagonists within a simple yet powerful premise. Julian and Lori’s backstories were a mystery in themselves, revealing small pieces of information to the audience. Strangely, The Christophers felt a little like a murder mystery movie, minus the murder. Still, I can attest that there were a few murdered art pieces. What kept me most engaged was peeling back the layers of truth behind the titular MacGuffin art collection, which made me want to know why this collection was so special in the first half of the dramedy.
McKellen delivered what he does best, fully embodying his character. I would never have guessed I’d see McKellen playing an ex-celebrity filming a series of Cameos to earn a few extra bucks. Based on his performance in this film, I wish he would appear more often on TikTok or Instagram Live.
One of his best Julian Sklar lines was, “Never underestimate the internet prowess of a man who Googles himself.” It was at this moment that I knew this battle of wits was going to be entertaining. Coel brought the awkward vibes that I remembered her best on the British sitcom Chewing Gum, but made fierce, purposeful decisions too. Lori is the type of quiet genius that could make audiences thunderously applaud without saying a word, and Coel flawlessly embodied that energy throughout The Christophers.
“To viewers who do not like quippy humour, some parts of The Christophers drones a beat too long.”
The Christophers’ strengths lay in its cinematography, largely due to Soderbergh’s (credited as Peter Andrews) abilities. It wasn’t completely innovative, but he used many of the techniques that worked in Presence, where the camera had to navigate the tightness of a family home. In this film, Julian’s London flat was taller and narrower, presenting a greater challenge. The result was an intimate view between Lori and Julian whenever they moved through the cramped space.
A clever detail was that Julian owned two flats, but it looked as if he had broken down the walls to create one larger home. There was also a small, unexpected joke tied to this feature. Overall, the set design was intricate—whether it was Julian’s lived-in home or the pub where Lori met Julian’s children on several occasions. The art studio and museum appeared to be real locations; if not, the production made excellent use of the available space.
The Christophers was one of the films where the score or music did not need to shine in a special way. Regardless, there were some great moments where chimes kept showing up in the mystery elements. It was a smart cue to indicate Lori’s curiosity. Nevertheless, the lack of a dominant score was backed by witty banter or sly glances—giving the actors more room to show off their craft.
To viewers who do not like quippy humour, some parts of The Christophers drones a beat too long. This is not a flashy, fast-paced film. But I can promise this film is a hearty British dramedy with a tear-jerking moment or two. Soderbergh creates a charming, humourous UK-based flick, with a tight cast and setting. With all the double-crosses and deals, this is like a heist movie containing a different kind of excitement—leaving audiences guessing how this scenario will play out for everyone until the very end.
