Artists often don’t get the credit they deserve when they’re at their most creative, which ironically can make what they produce then that much more valuable in the future once people finally catch on to their talent. What the art world considers to be worthwhile, however, isn’t always in sync with what the artist believes, which can make a sale going through that much more difficult. The Christophers centers on one such disgruntled painter who isn’t eager to revisit his past but whose children are sure that his unfinished works hold the key to their financial fortunes once he eventually kicks the bucket.
Lori (Michaela Coel) is a restorer contacted by an old art school classmate (Jessica Gunning) and her brother (James Corden) for her unique forgery skill, which they’ll need considering their painter father Julian (Ian McKellen) refuses to even discuss a series of paintings called The Christophers they know would be worth millions – if they were finished. When Lori shows up to meet Julian, he doesn’t stop talking long enough to let her answer a question, but he does want to burn the paintings. His mind is entirely closed, but that doesn’t mean Lori won’t be able to figure out another way to make sure that his most profitable works don’t go up in flames.
Soderbergh is a very prolific filmmaker who in the last year has delivered two very different films, Black Bag and Presence. This is certainly his lightest movie in a while thanks to a script packed with great one-liners for Julian from screenwriter Ed Solomon, whose past credits include the Bill & Ted movies. If this film’s entire runtime was just McKellen ranting, it would be one hundred percent worthwhile. The two-time Oscar nominee, now eighty-six years old, hasn’t lost any of his fire, and he shows great enthusiasm in a brief introductory video attached to the film’s premiere that explains why he couldn’t make it to Toronto. McKellen is endlessly entertaining and is almost more fun talking to himself than to anyone else since it means he can get through more insults and unwanted commentary.
Coel, best known for the Emmy-winning series I May Destroy You, isn’t permitted to say much for the film’s first few scenes, but once she does get to contribute her opinion, her casting makes sense and it’s fun to see her spar with McKellen. Gunning, on the other hand, should be taking on much more substantive roles following her Emmy win for Baby Reindeer, and at least she makes the most of the minimal material she has here. Corden, who also appears in a small role in another TIFF movie, California Schemin’, doesn’t contribute much but is fun enough in his brief appearances.
Because it’s a film about art, there is some discussion of technique and actual painting that does occur. But first and foremost, this is about people and how they speak to and treat each other. It’s endearing to see a bond gradually develop between Julian and Lori, and the way to that comes from Lori finally getting a word in and taking Julian down a peg. There’s nothing extraordinary or even all that notable about how this film is made, and its story is told in a standard and uncreative narrative format. But any chance to see McKellen in his element, still as resilient and hilarious as ever more than half a century into his career, is welcome. While Julian isn’t eager to indulge the masses in getting to see his talent, McKellen is far more generous, and his performance in this film is a true gift.
Movie Rating: 7/10
