Black Bag Review: An Exquisite Spy Thriller From The Prolific Soderbergh

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In just under a decade since filmmaker Steven Soderbergh came out of retirement, he has been busier than ever. His latest release, the sleek and fast-paced spy thriller “Black Bag,” is his 10th feature film since 2017’s “Logan Lucky.” Remarkably, it’s not even his only production this year – “Presence,” a low-key ghost drama, preceded it in January and was also reviewed by Looper.

Although none of his films released after his break have gained the same level of popularity or cultural impact as the “Ocean’s” series, these movies are just as captivating and sometimes even more impressive than his earlier work. Watching a virtuoso at work, seamlessly transitioning between genres, moods, and artistic approaches, is like observing a skilled driver swiftly changing lanes. The thrill of witnessing a talented storyteller explore new ideas is an experience in itself, even if he occasionally stumbles.

In comparison, the film titled “Black Bag” leans significantly towards the highly successful end of the Soderbergh-Overton spectrum. Collaborating once again with esteemed screenwriter David Koepp, who has worked with him on previous projects such as “Kimi” and “Presence”, Soderbergh delves back into a familiar genre. The outcome is far less fantastical than the James Bond movies, but stops short of being as raw and authentic as the “Bourne” series.

This drama is as sharp, seductive, and intoxicating as Patrick Marber’s “Closer,” deviating significantly from typical ghost tales, and it runs for just 93 minutes.

An honest man working among professional liars

Previously, filmmaker Steven Soderbergh created the underappreciated spy thriller “Haywire.” In this action-focused movie, lead actress Gina Carano navigated an intricate international conspiracy. The aesthetic choices in this new production are reminiscent of his prior work, with comparable color schemes, compositions, and pacing. However, instead of intense hand-to-hand combat, the film features sharp dialogue and quick, humorous exchanges that resemble those found in a classic British mystery.

It follows logically that the plot is sound, considering David Koepp’s intriguing foundation. The character George Woodhouse (played by Michael Fassbender), a well-regarded member of an unnamed British intelligence unit, learns from a peer about a traitor within their midst. Among the potential suspects, he identifies Dr. Zoe Vaughn (Naomie Harris), the bureau’s therapist; Col. James Stokes (Regé-Jean Page), a protege he recently elevated; Freddie Smalls (Tom Burke), an agent who missed out on Stokes’ promotion; Clarissa DuBose (Marisa Abela), a newcomer; and Kathryn St. Jean (Cate Blanchett), George’s spouse. To alleviate any doubts about the challenges George might face in investigating his romantic interest, it is mentioned that he had once terminated his own father’s career in their profession due to dishonesty and misconduct. His rationale? He has a strong aversion towards deceitful individuals.

As events progress, it turns out to be a rather intricate game of cat-and-multiple-mice, with George exploiting an ordinary dinner party to provoke enough discord among the suspects, eventually leading to a broader investigation. However, as suspicions grow stronger that Kathryn might be the informant, it’s evident that George will go to any lengths to protect her from harm, irrespective of whether she is guilty or not. The reason for this? His deep affection for his wife.

Koepp’s script is concise and merciless, intricately spinning a complex web of deceit and disguise, yet effortlessly ensuring the audience can follow their covert maneuvers. As for its genre classification, while trailers might suggest an abundance of high-octane action, the dialogue and strategic revelation of facts provide ample suspense to leave viewers on tenterhooks.

In the thrilling world of this movie, I can’t help but be captivated by the chase for the elusive mole and the mystery surrounding the stolen MacGuffin. Yet, what truly hooks me is the compelling web of romantic relationships among the stellar cast, which feels remarkably real and satisfies my craving for a modern soap opera. The actors in this game are nothing short of exceptional, embodying their secret agent roles with finesse. Director Soderbergh masterfully balances these two intriguing aspects of the storyline, keeping both sides engaging and intertwined.

Soderbergh: the working man’s auteur?

Despite the fact that a perceived scarcity of sexual content was his primary objection to directing superhero movies, Steven Soderbergh had another reason for being uninterested in this popular genre. In an interview with The Daily Beast, he questioned the financial aspects of these costumed heroes, asking, “Who funds these individuals? Who are their employers? How do they acquire such jobs?” For Soderbergh, it’s essential to comprehend the economic realities faced by his characters in order to create believable fictional worlds.

In this spy story, George finds Kathryn suspicious due to a substantial amount of money that the suspected mole has secreted away. Given their apparent upper-class lifestyle, it’s unusual for someone like Kathryn, whose background suggests financial insecurity, to be living so comfortably. This theme of capitalism and its impact on personal ethics is a recurring element in Soderbergh’s work. His focus lies primarily on understanding the complex interplay between economic survival and moral dilemmas; how our drive for financial stability can lead us into questionable situations; and the insights we gain by observing characters grappling with these conflicts.

Among a select group that includes David Fincher and Park Chan-Wook, Soderbergh is one of the few directors who fearlessly incorporates smartphones into his shots, and he doesn’t necessarily require period pieces or time travel to showcase his perspective on human nature. In “Black Bag,” he doesn’t rely on advanced spy technology from science fiction, but rather emphasizes the expansive reach of modern surveillance, drawing viewers nearer to the characters who observe us from a distance while being under constant scrutiny themselves.

Regardless of the genre he selects in the future, we can always rely on Soderbergh to strive for a truth that doesn’t need to be ordinary or documentary-like to resonate with the audience. His action films, too, delve into the human experience.

“Black Bag” hits theaters on March 14.

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2025-03-12 00:30