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    Enigma Wrapped Inside a Great Movie

    The Imitation Game shakes up WWII genre as smart spy thriller

    Alex Bentley
    Dec 23, 2014 | 3:31 pm
    The Imitation Game shakes up WWII genre as smart spy thriller
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    Whether we like it or not, movies about World War II continue to be popular for filmmakers because of the myriad stories that can be mined from such rich history. But because so many movies have been made about the period, even unique stories have a way of feeling similar to those that came before them.

    Fortunately, The Imitation Game doesn’t fall into that trap. It tells the story of Alan Turing (Benedict Cumberbatch), the brilliant but eccentric mathematician who was able to decode the seemingly unbreakable Enigma machine used by the Germans during the war.

    Director Morten Tyldum and writer Graham Moore construct the film as both a great character study and a tense thriller.

    As depicted in the film, Turing had a severe lack of social graces, viewing those who didn’t match his intellect as unworthy of his time. Despite his abruptness, he convinced the British military brass, including Winston Churchill, that he, along with his chosen team, would be able to accomplish what had long been thought impossible.

    But the film is much more than just a bunch of scientists sitting at desks and crunching numbers. Director Morten Tyldum and writer Graham Moore construct the film as both a great character study and a tense thriller.

    On the personal side, Turing’s outward demeanor collides with his inner turmoil as a gay man in a time when being homosexual was unacceptable on a societal level. Many of the moves he makes, both professionally and personally, can be viewed through that prism, and the film becomes richer for it.

    Even though the story takes place over many years, it works like a good spy thriller. It’s exciting to watch Turing and his team crack the Enigma, but what happens after they do intrigues even more. The cost of war is easy to see in films with actual battles, but it’s driven home just as hard with the decisions shown here.

    Cumberbatch’s role as Turing is not as showy as other Best Actor hopefuls this year, but it’s just as effective. He commands the screen with his turns of phrase rather than his movements, and his enrapturing voice makes his character more likable than he probably should be.

    He’s helped by solid supporting performances from the likes of Keira Knightley, Matthew Goode and Mark Strong, in roles that don’t feel tacked on. Knightley is especially good, making a case with this and Begin Again that she might finally be coming into her own as an actress.

    The Imitation Game shows that not all World War II movies are the same, and there might still be hope for a genre that seemed destined for mediocrity.

    Benedict Cumberbatch in The Imitation Game.

    Benedict Cumberbatch in The Imitation Game
    Photo courtesy of Lone Star Film Festival
    Benedict Cumberbatch in The Imitation Game.
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    Movie Review

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    Michaela Coel and Ian McKellen in The Christophers.

    Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.

    Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.

    Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.

    Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.

    Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.

    While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.

    Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.

    Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.

    ---

    The Christophers is now playing in theaters.

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