There’s something particularly alluring about the life of a spy. The secrecy, the style, the globe-trotting, the murder. Virtually since the beginning of film, spies have been a reliable source of dramatic intrigue for filmmakers across the globe. It can be a calculating and cold job, but then so can the work of Steven Soderbergh (“Ocean’s Eleven (2001),” “Logan Lucky”). When he’s at his best, he’s lively and full of little quirks and touches within a seemingly calm exterior. So, if you mix his style, with that of the spy genre, and a script from someone like David Koepp (“Jurassic Park,” “Panic Room”), you get a nice neat little package. You get a “Black Bag.”
George Woodhouse, played by Michael Fassbender (“X-Men: First Class,” “Steve Jobs”), is married to Kathryn St. Jean, played by Cate Blanchett (“The Lord of the Rings: Return of the King,” “Tár”), and the pair are so in love it borderline puzzles their friends and acquaintances. They’re also both spies within the same British intelligence spy agency. One evening, George is told that his next assignment is to find the internal source who stole and leaked a piece of software called Severus, and that one of the suspects is his wife. From there, he begins to suspect her and their marriage, roping in his friends and fellow spies Clarissa, played by Marisa Abela (“Industry,” “Back to Black”), Freddie, played by Tom Burke (“Mank,” “Furiosa: A Mad Max Saga”), Zoe, played by Naomie Harris (“Moonlight,” “No Time to Die”), and James, played by Regé-Jean Page (“Bridgerton,” “Dungeons & Dragons: Honor Among Thieves”), to help find the leak before he must answer to Arthur Stieglitz, played by Pierce Brosnan (“GoldenEye,” “Mamma Mia!”), their agency head.
Soderbergh’s best sensibilities are on full display here, to the very best effects. Despite still going by pseudonyms, he continues to be his own editor and cinematographer, and it means that his pictures feel exceptionally purposeful, every decision deliberate. This matches extremely well with the spy thriller genre itself and works as a fantastic complement to the fluidity of Koepp’s script. The lines, jabs, quips, and quirks flow so naturally that it begins to feel voyeuristic, as if you yourself are a spy peeking in on the events as they unfold. The cinematography is particularly gorgeous; simplistic and deliberately done without being plain, creative without being showy.
The entire cast is completely locked in, and while it could be easy to label this a film where you just watch attractive people talk and lie to each other, the nuances of each performance are clear and excellent. Fassbender and Blanchett are a steamy and complicated couple together, letting each scene feel as though it could play out in any number of ways. The ensemble cast all fit into their various roles and archetypes in the spy genre well, but playing within said roles enough to prevent any kind of stagnation. Abela is a particular standout, imbuing Clarissa with a smarmy kind of innocence without betraying her intelligence. As the youngest member of this work group, hers is the most interesting role to observe, as she slowly pieces together just what kind of a world she’s involved herself in.
Soderbergh keeps things brisk and light, and his directorial touches are virtually tailor made for this genre. But so are his editing skills and ability to construct this film like an inside out puzzle box. Things that might initially come across as plot holes or oddities early on are slowly recontextualized as things progress. It shows a tight and masterful grip on the medium, yet another example of Soderbergh’s ability to shapeshift into whatever genre is handed to him. This brisk and playful pace is elevated further by David Holmes’s (“Ocean’s Eleven (2001),” “Logan Lucky”) electric and punctual score, popping up just when needed as if it’s the final cherry on top of a scene.
At just over 90 minutes, “Black Bag” is just a good old fashioned adult drama. Its talented cast runs away with the material, and Soderbergh’s style keeps things fun without becoming farcical, or without betraying the thriller nature at the core of the tale. Koepp’s script maintains that same sensibility and results in one of his best writing efforts in years. For those bemoaning the lack of movies for grown-ups at a theatrical level, Soderbergh and Koepp have essentially left a nice and tidy little thriller to dive into and enjoy. 5/5
No comments:
Post a Comment