It seems like Steven Soderbergh might have developed a late case of anglophilia, the retirement-teasing director situating himself in London for three films within the last two years. The first was a needless, throwaway Magic Mike sequel, but then this spring he gave us the delicious spy caper Black Bag, a juicy riff on both John le Carré and Agatha Christie that dared to imagine a monogamous and supportive marriage as the epitome of sexiness. Unlike Woody Allen, who cursed us with a string of London-set clunkers after Match Point (Cassandra’s Dream, a film that cast Colin Farrell and Ewan McGregor as cockney brothers, easily the most heinous), Soderbergh seems to be sticking around for reasons other than a nice holiday, his second offering of 2025 also feeling notable. It’s a quieter project than his last, a delicate two-hander closer to an intimate stage play, but it finds him playing in yet another unexpected part of the sandpit, a director thrillingly seeking new challenges.
Like that film, it seems inspired more by storytelling than simple technique (unlike the fantastic Covid-set surveillance thriller Kimi or the hard-to-love ghost story Presence) and again he’s reunited with a screenwriter he’s previously worked with before. Like the frequent Soderbergh collaborator and Jurassic Park scribe David Koepp, writer Ed Solomon has also mastered the art of taking a blockbuster cheque. His credits include Charlie’s Angels, Men in Black, Super Mario Bros and, more recently, the Now You See Me movies, but his first film with Soderbergh was 2021’s ensemble crime drama No Sudden Move, and he’s brought another smaller, more character-driven story his way. The Christophers is a talky, at times incredibly funny, comedy drama with plot reversals that make it feel like it’s on the verge of a thriller. It doesn’t end up there, at least not strictly, but it’s unpredictable enough to never make us entirely sure just where it’s heading.
