600 words on The Christophers
Sometimes an average film is something you find to be just ok. Sometimes it’s something that soars on occasions and frustrates in others. This is some thoughts on a recent example of the latter. I wanted to write more about this than a letterboxd review or a newsletter entry (and it didn’t qualify for the newsletter in any case). So this is the result. A lightly edited (read it through once), incomplete conglomeration of thoughts. Hope you enjoy it.
***
Most three star films are good not great. Passable films that never reach great heights, or maybe were never aiming for them. Stephen Soderbergh’s The Christophers (2025) is an altogether different kind of three star film. Often it feels as though the performers are far too good for the material. Other times it is borderline sublime. And the end result is a film that leaves you unsatisfied, but thinking about it afterwards a lot more than a traditional three star jaunt.
The Christophers sees the disappointing offspring (Sallie played by Jessica Gunning and Barnaby played by James Corden) of formerly acclaimed, now mildly canceled artist Julian Sklar (Ian McKellen) hire Lori, played by Michaela Coel, to ingratiate herself as his assistant and forge some of his unfinished paintings. Then when Julian dies, the kids will haul in millions from the sales of the ‘rediscovered’ masterpieces. Obviously Corden is the big red flag in that plot summary, so let’s deal with the him of it all first. He kinda sucks in this. His performance feels insufferable. Which is how the character is written. But does that mitigate his insufferableness? The other issue is that he’s just not as good as anyone else he’s onscreen with and does not disappear into the role at all. A lot of this on the plot level feels very rote. The set-up. The aged artist recording Cameos, when he clearly does not need to financially, just feels a little quirky and ‘look at where we find ourselves in the 2020s’ for the sake of it all.
Michaela Cole and Ian McKellen are BRILLIANT. That is both a general statement and one pertaining (much more mildly) to this film. Everything of note of the film flows directly though the two of them. They create this juxtaposition between the characters that through their performances, goes much deeper than the writing initially allows (though credit where it is due, despite the clumsy plotting that never really abates, there are nice character notes here that the writing delivers). When some people get old there’s a residual bitterness in them that must seep out and splash all over those close to them. And that is what McKellen’s Sklar embodies here. It is very theatrical. Almost feels as though they are trading monologues at times. Which sometimes is great because it’s friggin Michaela Coel and friggin Ian McKellen. But it sometimes feels out of place and a little lethargic too. It’s a more interesting look at legacy than the surface level engagement with cancel culture suggests too. The way the concept of legacy is mediated between the two characters – one with the legacy and one outside of it, with no real way to influence it. There’s an engagement with the fragility of egos and the inconsistencies of the artist.
“Oh I was a blustering fool” Julian exclaims at one point. Speaking both of impacting his legacy and his personal relationships. By the point this occurs, the film has us in it’s good graces enough for us to realise that we’ve all been that fool a whole bunch in our lives too. Sincerity is so key to impactful filmmaking, seen here in the sequences of them making art together that we know have been coming for most of the run time. The predictability is ok when it is delivered sincerely by two performers as good as this. Even when it’s good it’s rote. Less welcome are the predictable plot turns. For some reason, despite their thankfully being zero romance between the two, a lot of the plot points are romcom 101 stuff.
Verdict: Stubby of Reschs
Worth Watching July 2012
Worth Watching:
- Not Suitable for Children (2012), Peter Templeman – A cracker of a script brings this inner-west Sydney comedy to life. Not afraid to confound expectations, the film also delivers a healthy quota of genuine laughs. Refreshingly frank about booze, drugs and sex this excellently performed piece is the kind of Aussie film you really hope finds an audience. Also features the most fantastically awkward sex scene ever.
- East West 101: Season 1 (2007), Steve Knapman & Kris Wyld – This is an intriguing Aussie cop drama. There are definitely annoyances – shaky, hyperkinetic camerawork and individual storylines that are not always satisfying – but the storyline of Malik and his father is really well drawn out. The exploration of race, despite some initial clumsiness, also comes to satisfy by the season’s excellent (and genuinely shocking) conclusion.
- This Means War (2012), McG – I’m a big fan of all three leads in this – Pine, Witherspoon and Hardy. This is nice and light, there is no real sense of tension but the action scenes are good. The script is not great, especially the early establishment of Pine’s character and the motivation of all the characters is often warped. But in the end, this is genuinely funny and well performed, with Chelsea Handler as Witherspoon’s best friend almost stealing the show.
- The Amazing Spiderman (2012), Marc Webb – This is a fun film that looks great. But there is no denying that much of what is covered was done better by the first Raimi film. Andrew Garfield is a little hit and miss in the title role but Emma Stone is her usual delightful self. Unfortunately very little of the welcome humour that characterised the trailer is transferred to the final film. But despite all of this, the film is still more than enjoyable enough popcorn fluff.
- Batman Begins (2005), Christopher Nolan – This incredible film has come to sit somewhat unfairly in the shadow of its phenomenal sequel. Nolan’s first Batman flick is a really dense, multifaceted origin story which remains extremely accessible to non-comic book readers. The script expertly establishes the characters’ values and psychology above all. Katie Holmes’ performance in this is really underrated; I think she does better than Maggie Gyllenhaal who replaced her in the sequel. The film finishes on one of my all time favourite sequel setups as well.
- The Dark Knight Rises (2012), Christopher Nolan – As a standalone film, this is imperfect. However as the closing film of the trilogy, it is pretty darn close to perfection. The quibbles for me include the late twist, OWS references which veer into the overwrought and resolution of the main action that is not 100% successful. But I loved much of this. There is a couple of cracking action set pieces, the setup for the sidequel/spinoff is masterful and personally I was a huge fan of the ending. Michael Caine is amazing in a small role whilst Joseph Gordon-Levitt in detective mode is very good.
- Magic Mike (2012), Steven Soderbergh – I really liked this. On the surface this is a tale of male strippers. But there’s some (not too much) added depth here. Channing Tatum has a real charm and presence about him onscreen, as does female lead Cody Horne who is delightful despite occasional stilted line delivery. Biggest accolades must go to director Soderbergh though who is in good form, keeping proceedings zipping along rapidly, even as the action threatens to become predictable.
Not Worth Watching:
- Brave (2012), Mark Andrews & Brenda Chapman – As far as animated films go, this is decidedly average. For a Pixar film it is utter pants. Technically, they continue to improve but it seems too much effort has gone into making Merida’s hair look amazing, and not enough into making the narrative amazing. This is a tepid tale, totally lacking in any Pixar distinctiveness or subversiveness.
- Safe House (2012), Daniel Espinosa – Cool idea. A CIA traitor just saunters into the American embassy in South Africa. Especially when you add in the fact that the traitor is played by none other than Denzel Washington. But this film never gets off the ground, making you wonder why anyone bothered. The action scenes are surprisingly sparse, and when they arrive they are annoyingly, shakily shot. Denzel is surely the most watchable actor of his generation, but even he can’t make this worth your while.
Not even this guy can make Safe House worth your time.
If you only have time to watch one The Dark Knight Rises
Avoid at all costs Brave
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