Most film directors have a style of filmmaking that they’re comfortable with – a house style if you will, Tarantino and Nolan being prime examples.

One director not content with one particular style is Steven Soderbergh. His film collection is a vastly varied one, with everything from Erin Brockovich to Contagion to Magic Mike’s Last Dance, and everything in-between.

To prove just that, and add to his collection, is this, his unique comedy.

Arriving at one of the two doors to the neighbouring properties owned by Julian Sklar (Ian McKellen) is Lori (Michaela Coel).

She is there for an interview to become the assistant to Julian, a prominent, famous artist in the art world.

His health has caused him issues of late, and certainly contributed to his lack of paintings, having not painted in some time. With Lori’s help though, there’s a chance he may find himself facing a blank canvas once again.

Little does he know that it’s no coincidence that Lori has applied; she has been sent there by his daughter Sallie (Jessica Gunning) and Son Barnaby (James Corden), who have sent her there on a secret mission: to find a number of his unfinished paintings – The Christophers collection – and finish them, in his style, so they can all profit from selling them.

But as Lori soon discovers, it’s going to be no easy task as Julian has more than his wits about him.

This is yet another film where, even if you’re aware of Soderbergh’s films, you may still be surprised to see his name at the end of it. In a sense his contribution here echoes that of Coel’s character – a forger, directing, what appears to be a very British independent comedy. And it just endorses his diverse creativity that he pulls off with stunning accuracy, a film that feels quintessentially English, and that’s a huge compliment to Soderbergh.

You could also say the same of its American writer, who has written such films as the Bill & Ted films, 1993’s Super Mario Bros. and 1997’s Men in Black, all of which are on different planets – literally – to this one. And yet tonally it comes across as written by a native, and certainly not from someone who built a career from dialogue such as “most excellent” and “party on, dudes!”

It’s no way flashy, and just allows the script, which is sensationally sharp, to be delivered from a sparkling McKellen, with the kind of performance he normally reserves for the theatre. He is aware of his lack of productivity, but has found a way to maintain his personality, by selling personal messages to fans online on his phone. He may well play the character as a typical caricature/stereotype of what many people believe artists to behave like, but it's hugely entertaining.

And then there’s Coel; a young actress, who has proven herself to be a phenomenal talent in the TV shows she has starred in (Chewing Gum, I May Destroy You), but hasn’t really been given the opportunity to shine on the big screen – until now. She provides a very down to earth counterpoint to McKellen’s eccentric Julian, whose character faces a number of difficult decisions throughout.

The film is at its best with the two of them sharing the stage, as it were, which is just as well they do in the majority of the film.

It’s also helped by two supporting roles for Corden and Gunning, the only other two characters that feature.

Although Soderbergh doesn’t always get his left-field work right – ahem, Kimi - this is nothing short of a sublime work of art.