‘Black Bag’ Review: Cate Blanchett and Michael Fassbender Cozy Up in Steven Soderbergh’s Snazzy Spy Thriller

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In the captivating world of “Black Bag”, there’s a lot of buzz surrounding a mysterious cyber-device named Severus, capable of causing chaos in nuclear facilities. This device might as well be compared to Codex from the Superman universe or the enigmatic Mother Boxes from Justice League. Despite numerous attempts to understand their functions, they remain shrouded in mystery. What truly piques my interest in this intriguing series isn’t so much the repeated mentions of Severus, but rather the tangled web of shifting loyalties and betrayals among a tight-knit group of British intelligence agents.

After the tense, Hitchcock-like suspense of the tech thriller Kimi and the skillfully chilling ghost story Presence, this third collaboration between director Steven Soderbergh and screenwriter David Koepp fails to meet expectations. It’s clever, elegantly designed, and features an impressive cast, with standout performances from Cate Blanchett and Michael Fassbender. Despite keeping you engaged, the film leaves a fleeting impression, offering a smooth distraction that fades from memory shortly after the end credits have finished playing.

Despite its complexities, it’s undeniably satisfying to be in such skilled hands, as demonstrated by Soderbergh and his talented cast. Even when the plot gets tangled, they manage to keep it afloat with an enjoyable lightness. With over three decades of filmmaking under his belt, boasting more high points than low ones, it’s a delight to simply relax and appreciate the agile storytelling style of this director and the alluring polish of his cinematic aesthetics.

The title alludes to extremely confidential information so sensitive it can’t be disclosed, not even among spouses like Kathryn St. Jean (Blanchett) and George Woodhouse (Fassbender). It also serves as a handy disguise for indiscretions, deceit, and illicit activities within the inner circle of top agents in their close network. “What were you doing this afternoon?” “I was handling confidential documents.

As a dedicated agent alongside Meacham at the National Cyber Security Centre, I’m tasked with tracking down the mole within our ranks who has compromised Severus. Meacham subtly queries if I’d be prepared to act against Kathryn should she prove to be the culprit. Yet, without explicitly revealing my intentions, I maintain a guarded demeanor. My colleagues at NCSC perceive my unwavering allegiance to Kathryn as a potential vulnerability.

The duo arranges a formal dinner gathering at their luxurious London residence, inviting four high-ranking colleagues who are all couples, as they harbor suspicions that one among them might be the spy in their group.

The attendees include Colonel James Stokes (Regé-Jean Page), who works directly under George; Dr. Zoe Vaughan (Naomi Harris), an in-house NCSC therapist and lover of Stokes; Freddie Smalls (Tom Burke), a heavy drinker and womanizer who’s bitter about not getting promoted recently, along with his girlfriend, cyber communications expert Clarissa (Marisa Abela), the latest addition to the NCSC team. Although they all consider themselves friends of George and Kathryn, they are aware that there might be a secret motive behind their sudden invitation due to their familiarity with the hosts.

I can’t help but feel on edge. You see, George, a man as cool as a cucumber whether he’s whipping up a meal or reeling in a fish, has given me a word of caution about the chana masala. He’s spiked it with some sort of substance to make our guests more chatty. But it seems we’re no closer to uncovering the truth after Freddie’s secret hotel rendezvous with an unknown woman was exposed, especially since Clarissa has a steak knife within arm’s reach.

Koepp’s screenplay hints subtly at Kathryn possibly being suspicious, as her adept ability to dodge questions is noticeable, particularly during a memorable therapy session with Zoe. This session, mandated by the agency, reveals that an unsettling aura often precedes Kathryn into the room. Furthermore, Kathryn refuses to divulge specifics about a meeting in Zurich. Her cryptic response leads George to seek assistance from Clarissa. By exploiting a secret viewing option in satellite coverage, he manages to monitor Kathryn’s clandestine encounter in Switzerland without raising any alarms at the NCSC.

When Clarissa raises an eyebrow, hinting at marital suspicion, George declares about his wife, “I keep a close eye on her, and she watches me too. In any difficulty she faces, I will use all my resources to help her get out.” The script subtly explores the uncertainty over whether Kathryn would reciprocate in similar circumstances for George, or if she might be setting him up instead.

The plot of the play is intricate, sometimes making certain aspects slightly unclear. However, the core interaction between George and Kathryn serves as a smoothly functioning engine, driving the rest of the narrative forward.

The portrayals of Fassbender and Blanchett are unique yet harmonious. He’s cold and mechanical, a blend of characters he played in Prometheus and The Killer. In a witty moment, George has a minor stain of curry on the pristine white cuff of his shirt, and without missing a beat, he calmly states, “I have to go change.” It’s later revealed that George had been monitoring his own father, a former spy, to which he responds, “I don’t tolerate liars.

Instead of portraying Kathryn as uncertain or doubtful, Blanchett gives her a seductive and mysterious aura, suggesting a polished individual who seems utterly confident, meticulously evaluating each circumstance and her role within it. Her classic elegance masks her financial worries, further fueling suspicions about her character.

In the heart of “Black Bag,” Cate Blanchett’s moments with Michael Fassbender are what truly bring the film to life, making its engine hum. As professionals, both George and Kathryn maintain a certain level of discretion, but their relationship is electrified by a powerful blend of sexual and emotional ties. This movie isn’t just a spy story; it’s also an intimate exploration of marriage. When she poses the question, “Would you kill for me, George?”, it feels more like a seductive whisper than a measure of allegiance.

Cate Blanchett’s intense outburst (“Leave my marriage alone, or else!”) adds a spark of excitement to a film that generally maintains a low-key, lukewarm tone, except for the targeted airstrike on Russian agents. However, the effort needed to stay engaged isn’t always compensated by the most captivating plot twists; instead, the story more often gently bubbles along at a moderate pace rather than reaching a full boil.

In this movie, every member of the cast has their moment to shine, seamlessly fitting into the complex narrative structure. Among them, Abela truly shines, proving her talent from previous works like “Back to Black” and “Industry.” She demonstrates that she’s as skilled as the veterans, even though she’s relatively new. Pierce Brosnan adds a zest to his limited scenes as Arthur Steiglitz, the demanding NCSC head who exudes an undeniable threat for those intolerant of failure and protective of themselves. A particularly tasty detail is that he partakes in illegal Ikizukuri during one scene.

Behind the camera, Peter Andrews (alias DP) and Mary Ann Bernard (as editor) work under their usual pseudonyms, giving the film a luxurious visual style with plenty of flowing tracking shots and flashes of lens flare. The rhythm is further enhanced by David Holmes’ jazzy, rhythmic score.

One particular sequence within multiple polygraph tests overseen by George stands out as Soderbergh’s most quick-witted work, skillfully manipulating the intrigue surrounding espionage and challenging our understanding of truthfulness and ambiguity. Though Black Bag doesn’t maintain this intensity throughout, it offers a taut 90 minutes of sophisticated adult entertainment that feels refreshingly rare nowadays.

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2025-03-06 23:55