The Christophers (2026)

There is no room for anything shy of genius in this crackling original drama about artistic legacy. McKellen and Coel are brilliantly matched as the aging art star and the forger in a sharp two-hander full of mental jousting and questions about ownership and memory.

The critic praises this as a terrific two-hander driven by sublime lead performances from Ian McKellen and Michaela Coel, along with Soderbergh's sly direction and Ed Solomon's sharp, twisty script full of witty dialogue.

The critic praises the film's witty take on art, value and attribution, highlighting Soderbergh and Solomon's convincing portrayal of haughty Englishness comparable to Gosford Park and Phantom Thread. Ian McKellen and Michaela Coel deliver standout performances as the irascible painter and his assistant.

Soderbergh’s film is satisfying in every respect as two skilled painters move from deception to common ground. Ian McKellen and Michaela Coel are superbly matched in this artists’ duel set in a ramshackle London townhouse.

The film is a light-footed chamber piece showcasing two phenomenal performers in conversations about art and ownership. McKellen and Coel’s interplay as the bitter artist and the cunning restorer gives it intellectual life and curiosity.

The review lauds the terrific two-hander as a meaty study of character and the creative process, driven by the crackling chemistry between McKellen's raffish painter and Coel's mismatched assistant. It highlights small, perfectly judged flourishes that make the odd-couple art-world tale charmingly raffish.

The critic highlights the film's existence as a win for old-school artistry and praises the twisty, dialogue-driven drama anchored by McKellen and Coel's engaging performances. The script's depth and Soderbergh's direction elevate the chamber-piece setup.

The critic highlights the perfect mismatch in energy between McKellen and Coel in this sly dramedy, praising the character-driven twists and melancholy undertones about art and love.

No actor this month enjoys themselves more than Ian McKellen as the egomaniac painter in this slender pleasure. The plot doodles along as the artist and the restorer thwart his money-grubbing children while interrogating why they make art.

The review celebrates the earnest, witty and beguiling heist movie as a masterclass from McKellen and Coel, noting their mutually dependent yet combative double act in a character-driven story. It singles out the performances and Soderbergh's loose approach to the genre for praise.

The critic describes the Toronto premiere as a witty, chatty two-hander where McKellen's sardonic artist meets his match in Coel's frank preservationist, delivering charming intellectual sparring. The film's Toronto bow and strong cast are noted positively.

The critic calls it a brilliant showcase for McKellen and Coel, with their contrasting performances driving a charming, intelligent two-hander that explores art, identity and authorship. The siblings' cartoonish portrayal is noted as a minor drawback.

The critic finds the film more like half a film, with details that do not add up, and criticises the disappointingly feeble script by Ed Solomon despite the strong cast. Even McKellen cannot salvage the weak material, which fails to explore its themes deeply.

The critic praises Soderbergh's quick-witted chamber piece for its rich ideas about art, criticism, forgery and legacy, centered on the tense, theatrical sparring between McKellen's flamboyant painter and Coel's steely forger. The performances and stripped-down focus on two people in a room stand out as highlights.

The critic praises the verbal sparring and performances of Michaela Coel and Ian McKellen in this tart art comedy about legacy and greed. Soderbergh directs with playful control, highlighting the actors' chemistry.

Soderbergh delivers a sparkling, funny, wise movie about two painters who consider themselves failures and how money shapes art. Ian McKellen and Michaela Coel are terrific as the cranky veteran artist and the skilled restorer drawn into his orbit.

The film starts as a heist but pivots into a nuanced two-hander on artistry, legacy, and generational divides, with excellent performances from McKellen and Coel that make it a must-watch streaming gem.

The film gives Ian McKellen one of his best late-career roles as a cantankerous artist, with strong chemistry and sharp dialogue alongside Michaela Coel; it is a very good chamber piece on legacy and closure but becomes overly claustrophobic in its small-room setting.

The critic calls McKellen and Coel riveting and highlights Soderbergh's chamber drama as a compelling meditation on art, integrity and legacy beyond its forgery premise. It describes the film as unexpectedly engrossing with curious final notes, though not the director's most exciting work.

The critic praises Ian McKellen's perfect performance as the eccentric, trailblazing artist and notes the film's unusually emotional tone for Soderbergh along with its thoughtful questions about art, forgery and legacy. It finds the story a bit uneven and opaque in balancing the two leads but ultimately worthy and resonant.

The film is a solid but lesser chamber piece and formal experiment from Soderbergh that takes time to engage and feels easier to replicate than his typical work. McKellen and especially Coel are singled out for their strong, contrasting performances and dynamic interplay as the cantankerous artist and the forger.