The Christophers (MA) – 100 minutes

The twists keep coming in a darkly comedic film based around art and subterfuge.

Specifically, it concerns the legacy of London-based Julian Sklar (Ian McKellen), a prickly painter whose reputation has faded as he has aged and become infirm.

In the 1990s, Sklar fell in love with a man who inspired him to create a series of portraits, which became known as The Christophers.

However, only two series of the now valuable works have seen the light of day.

The third was never released because those paintings were started, but never finished.

With his acerbic put downs of would be and wannabe artists, Sklar also featured in a television show named Art Fight. In his day, he was quite the celebrity.

Now, his money-hungry children, Sallie (Jessica Gunning) and Barnaby (James Corden), want to cash in on their father’s former fame.

So, they reach out to a former art school colleague of Sallie’s – Lori Butler (Michaela Coel) – who specialises in art restoration.

They engage her to pose as Sklar’s assistant and complete the unfinished Christophers behind his back.

When Butler arrives at Sklar’s cluttered period home, he does all the talking. In fact, it is more like pontification, as words simply pour out of him.

He remains recalcitrant and unapologetic, while she is silent. 

It is clear that he won’t be easy to work with, but nor is he as frail as he first makes out to be.

And so begins a merry dance in what becomes a game of one upmanship.

The pair continues to fall out and be drawn back together, as Butler’s history with Sklar goes way back.

With Sklar’s seemingly incessant ramblings, it took me a few minutes to warm to what I was seeing in The Christophers, but in time I most certainly did.

I loved the wicked humour that distinguishes Ed Solomon’s screenplay, which director, cinematographer and editor Steven Soderbergh exploits to grand effect. 

Sallie and Barnaby are painted (if you pardon the pun) as a couple of buffoons, readily dismissed by Sklar.

Gunning and Corden have fun playing up those simpleton roles.

But the real strength in the movie lies in the showings of McKellan and Coel, who go toe to toe, scene for scene.

Both show what fine actors they are, as they inhabit their respective personas with an intensity of spirit.

The camera often focuses on their faces, including her piercing gaze.

McKellen is much more demonstrative, just as his part calls for, while Coel is content to stand by, observe and wait to seize her opportunities.

Production designer Antonia Lowe has done a fine job dressing the art studio spaces that double as Sklar and Butler’s safe places.

I found The Christophers a very clever and satisfying piece of work that I encourage you to stick with.

Rated MA, it scores a 7½ to 8 out of 10.