I’m honestly uncertain how much genuine acting was present, particularly regarding Sir Ian McKellen’s portrayal as he revisits a performance style reminiscent of "The Critic" (2023), now embodying the renowned painter "Julian Sklar." It seems his abilities have diminished over time, and compounded by a serious illness, his opportunistic children, "Sallie" (Jessica Gunning) and "Barney" (James Corden), devise a scheme to secure their financial future after his passing. This involves bringing "Lori" (Michaela Coel) into a project that aims to creatively augment—though not precisely forge—some of his celebrated, yet unfinished, pieces stored in an antique metal bathtub on the roof of his London residence. Initially presented as his assistant tasked with organizing his extensive collection, tensions quickly arise between them as he grows wary of her intentions and she questions his own, but with his greedy children relentlessly pressing forward, could they find a resolution independently? The film is strongest when McKellen and Coel engage in their verbal exchanges; the script for those moments proves both engaging and amusing. He occasionally uses coarse language, yet demonstrates an ability to participate in thoughtful discussions with a woman who possesses her own struggles but readily defends herself against a man accustomed to dominance. It satirizes the pretentiousness of the art scene, while also highlighting the intricate and emotionally driven reasons behind many artworks that carry deeper significance than what initially meets the eye. A surprising development occurs toward the conclusion, and given the good rapport between the actors and the humor woven into the dialogue, I found it to be quite enjoyable overall.

Source on TMDB