The CHRISTOPHERS-Ian McKellan a Addling Artist Stars in Soderbergh's Film on Art's Alchemy

In the art documentary film "The Price of Everything" Gerhard Richter was asked if it made sense that a postage size painting of his just sold for $2 million?  "Not when you think you could buy a home for that," Richter candidly replied.  I agree that does seem ridiculous in comparison.  But you know what? Whatever price a painting can fetch is what it's worth.  "The Christophers," the latest film by Acad. Award winning director, Stephen Soderbergh ("Traffic") takes a clever aim at the chicanery innate in the art world.  Julian Sklar (a joust at Julian Schnabel?) is the doddering artist whose early portraits were the marvel of art critics and collectors alike.  In fact, two recent portraits from his "Christopher" series were sold at over $3 million each. A fact his beleaguered prodigies did not fail to note.  Son, Barnaby (an abject James Corden) and daughter, Sallie (Jessica Gunning, Emmy and Golden Globe winner for "Baby Reindeer") connive a scheme to convince Lori (a doe eyed, stoic Mihaela Cole, (Emmy winner for "I May Destroy You") to ingratiate herself into their father's life as his hired assistant, find the unfinished portraits and then finish them so after his imminent death, they can be recovered and sold for a fortune.  "Forgery you mean," Lori tells the sinister siblings."  "No, don't think of it as that. Think of it as finishing off great works of art," cajoles Barnaby.  Lori secures both the job with Julian and the unfinished, coveted paintings.  Screenwriter, Ed Solomon's (TV series "Full Circle") writes clever dialogue with the bantering between Lori and Julian.  The rye exchanges between Julian and his off-putting offspring is comical.  Lori and Sallie were classmates at a prestigious art school. Lori gained admission based on her portfolio and Sallie for being a nepo baby.  Lori is financially strapped and agrees to the nefarious scheme.  There's an undercurrent of tension and mutual admiration between the artist and his assistant.  The cinematography provides a sense of nervousness and an oppressive chill.  The side by side townhouse which divide Julian's studio and residence is precisely what one would picture as the abode for an eccentric, egotistical artist of some means.  The premise provided a promising canvas to add layers of intrigue, the cast was were all vividly in their elements (particularly McKellan) and the settings hued for angst and rancor.  For 2/3 of the movie, I was captivated but then became allied and tired.  Still,  I was won over by this stylish film about the subversive side of notoriety and artistry for the most part.