MICHAELA COEL, IAN MCKELLEN IN THE CHRISTOPHERS

TRAILER

Torn canvases

The premise of The Christophers is that two despicable offspring hire a forger to finish a series of paintings by their famous artist father, in hopes of making a bundle selling them when he soon dies. But we who have seen the film all know that it is just an excuse for one of the best duos of the year. They are Ian McKellen, as Julian Sklar, the artist, and Michaela Coel as Lori Butler, the forger, and watching them play off each other is a rare pleasure.

This is of course a screenplay (by Ed Solomon, usually known for more mainstream fare like Men in Black and the Bill & Ted franchise) about envy, greed, inheritance, family, and art. By the end of the action it feels more like Lori may be Julian's daughter. Certainly not the "real" one, Sallie Milton Sklar (Jessica Gunning, a rotund figure who floats through her scenes like a boat) or an officious James Corden as Sallie's half-brother, Barnaby. What were they thinking? But, as we said, this is about envy, greed, inheritance, and perhaps just uselessness. The disreputable siblings connect with Lori because Sallie knew her at art school. Lori is an art restorer, but when she answers her phone as one she is working at a food stand. She dislikes the artist and has no desire to be a forger but she takes on the job for the money.

I'll cite a moment already summarized by Wendy Ide in an Observer review: Julian dexterously pouring two glasses of red wine in his hands at once to celebrate something, and then, slick as an eel, slipping the bottle into the pocket of his ever-present dressing gown. He is frequently pouring and quaffing, and however implausible the bit of business technically (what dressing gown pocket holds a wine bottle?), is perfectly in character.

And what a performance by McKellen. How the 87-year-old flits about, with ease and panache, and always how louche and shady yet compelling. This is an artist, we are clearly told, who was once, long ago, the toast of London but for many decades has only sunk into bankruptcy and lack of repute. It's a terrific role and a pleasure to watch.

Sallie and Barnaby, though not welcome at their father's double London townhouse, have gotten into it long enough to spot upstairs an unfinished series of portraits from his most important period inspired by a lover or love object he called Christopher. These the venial offspring want Lori to finish. Byplay includes Julian's aim of having her instead chop them up, and then when that doesn't work, burn them in the garden. The odd pair begin as adversaries and end as almost friends.

It would have been fun if the paintings went through gruesomely revelatory changes, as in the iconic 1945 film adaptation of Oscar Wilde's Picture of Dorian Gray (I've read about it but never watched it) where the horribly decaying painting of the story was suitably created by that master of detailed decomposition, Ivan Le Lorraine Albright. But there is nothing like that, and in fact, as often happens in films about art work, the paintings are the weakest part of it. Movies rarely do justice to living art, whether visual, musical, or performance; they can't quite capture it.

But this doesn't matter because we have Ian McKellen, and with him the excellent match represented by Michaela Coel, who as a stony, unflappable, inward Lori is an excellent foil for the florid, show-offy artist fellow so much fallen off from his days of authenticity and skill. In his brilliant enactment of devolution, McKellen shows himself very much alive.

The Christophers, 100 mins., premiered Sept. 7, 2025 Toronto. Limited US release Apr. 10, 2026, UK, May 15. On multiple platforms. Metacritic rating: 79%.

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©Chris Knipp. Blog: http://chrisknipp.blogspot.com/.