The Christophers: a monotonous Soderbergh (review)

Despite the high-level performances of Ian McKellen and Michaela Coel, the new film by the very active American director gives the impression of having been brushed together in a hurry.

This is the biannual Soderbergh. Taking place in London, and packed as usual at full speed. The beginning of the film makes no detour, exposing its issues without delay: either the two children (Jessica Gunning and James Corden) of a famous painter on the verge of death (Ian McKellen), who decide to hire a young artist capable of imitating his style to perfection (Michaela Coel), so that she can, without his knowledge, finish some of his paintings left unfinished – paintings which will bring millions to the thieving heirs at the time of the death of the great man.

The Christophers initially pretends to be heading towards a scam comedy or a heist film, but in reality will mainly revolve around long verbal jousts between the forger and the painter, drawing a reflection on the posterity of “problematic” artists and the fundamental impurity of any artistic approach. Undoubtedly interesting subjects, but treated in a very monotonous form, just energized by the performances of Coel and McKellen, very inspired as the fallen king of Swinging London. Always a bit of a trickster himself, did Steven Soderbergh purposely make this film about unfinished paintings look like it was painted in a hurry? The Christophers is a sketch rather than a master’s canvas.

By Steven Soderbergh. With Ian McKellen, Michaela Coel, James Corden… Duration: 1h48. Released June 10, 2026