Steven Soderbergh remains one of cinema’s most unpredictable directors. Hot off the ghostly atmosphere of Presence, the filmmaker pivots once again—this time to the world of espionage. Black Bag is a sleek, dialogue-driven thriller that plays more like a sharply written stage play than a traditional action-heavy spy film. It’s sly, stylish, and confidently made.
Michael Fassbender leads as George Woodhouse, a composed intelligence officer tasked with tracking down a mole who’s leaked deadly tech to the Russians. The list of suspects is small and personal—colleagues with top-level clearance, one of whom happens to be his wife. While she has less screen time and a little less to chew on, Cate Blanchett, ever reliable, brings poise and a controlled edge to Kathryn, a fellow agent whose loyalty is placed under scrutiny. The chemistry between the two is understated but effective, their relationship driving much of the film’s tension and humour.
Fassbender plays George with his cool precision, all while making us aware that plenty is going on beneath the surface. As his investigation unfolds, so do cracks in his icy exterior—never overplayed, always just enough. The ever-reliable Blanchett, meanwhile, may have less to chew on than Fassbender but balances mystery and calculated warmth with ease.
A standout set piece comes in the form of a dinner party—hosted by the couple, attended by suspects, and spiced up (literally) with truth serum. It’s a brilliantly staged mix of awkward humour and slow-building paranoia, offering one of the film’s most entertaining stretches.
OTHER POSTS:
Across the board, the supporting cast is strong. Naomie Harris, Tom Burke, Regé-Jean Page, Marisa Abela, and Pierce Brosnan each contribute meaningfully to the unfolding mystery, bringing texture and presence to a story that relies as much on character interplay as it does on plot mechanics. They’re not just orbiting the leads—they’re vital threads in the film’s carefully woven web.
Soderbergh directs with his usual cool-headed flair. From the smooth opening long take to the crisp editing and polished production design, there’s an easy confidence to how it all plays out. Rather than big action set pieces, the film builds tension through mood — clever use of space, sharp lighting, and writer David Koepp’s even sharper dialogue. David Holmes’ jazzy score gives everything an extra dash of cool, perfectly complementing the film’s dry, knowing sense of humour.
Still, for all its clever setup and sharp character work, the ending doesn’t quite hit the note it’s building toward. It’s a neat conclusion, perhaps too neat, considering the playful uncertainty that precedes it. That said, it’s more of a soft exhale than a missed note—satisfying enough, even if it could’ve landed with more bite.
Black Bag is an enjoyably grown-up spy film—measured, stylish, and more interested in secrets between people than global stakes (although there are international consequences). It may be a little too cool for its own good at times, but there’s plenty to admire in the confident craft and performances.
