Black Bag Review: Steven Soderbergh Presents a Polished, Sharp-edged Spy Thriller

      If a James Bond or Mission: Impossible film eliminated all its action sequences––except for an occasional explosion or gunfire––while using a script reminiscent of a light John le Carré style, it might look like Steven Soderbergh’s Black Bag. This sleek, sophisticated spy thriller largely unfolds around dinner tables and office spaces, featuring rapid-fire, sharply pointed dialogue penned by David Koepp, who returns to the genre after the first outing of Ethan Hunt. The plot centers on three couples involved in British intelligence, with Koepp’s script exploring whether it’s possible to maintain a healthy relationship when work and life are inseparable, especially for those whose careers involve deception.

      Though the budget affords some necessary globe-trotting typical of its genre, most of the week-long narrative is set in London. We meet George Woodhouse (Michael Fassbender), a top agent with an obsessive attention to cleanliness and precision reminiscent of the character Fassbender portrayed in his recent film with Fincher. His mission is to identify the mole within his covert intelligence agency, with suspects narrowed down to five colleagues: Freddie Smalls (Tom Burke), a weary agent past his peak; his younger girlfriend Clarissa (Marisa Abela); the in-house therapist Dr. Zoe Vaughan (Naomie Harris); her partner, the newly elevated Colonel James Stokes (Regé-Jean Page); and his wife, Kathryn St. Jean (Cate Blanchett), whom he loves deeply.

      Soderbergh and Koepp craft a gripping, extended introductory dinner scene where each couple gathers at George and Kathryn’s residence, filled with sharp, pointed accusations that leave no personal or professional stone unturned. It quickly becomes evident that Black Bag prioritizes the dynamics of relationships over the conventional world-saving narrative typical of the spy genre. The dialogue possesses a playful yet heightened quality, as claims of infidelity, jealousy, and betrayal are exchanged with a casual demeanor; a single misstep in words during this game could yield lethal consequences. Capturing this tumult with a soft focus and unexpected light sources––an effect both cozy and disorienting––Peter Andrews once again excels.

      As is common in quality spy thrillers, Soderbergh pays less attention to the MacGuffin (in this instance, Severus, a malware capable of destabilizing a nuclear facility with catastrophic results) and focuses more on George’s dedication to Kathryn while secretly tracking her actions. In an environment where a committed relationship can be seen as a vulnerability easily exploited by adversaries, Black Bag becomes a narrative about the lengths one will go to safeguard the ones they cherish. Rather than being overly sentimental, there’s a precise, sharp edge to the discoveries of potential betrayal, where a misplaced movie stub could spell disaster.

      The film derives its title from a term used by agents when they can’t disclose details about a mission or their reasons. Applying this excuse to the foundation of marriage––which, ideally, should involve complete transparency––creates a compelling contrast: audiences are kept at the edge of their seats, constantly questioning whether Kathryn is loyal to her job and George or if she harbors treachery. While the stylishly dressed cast (including a playful Bond cameo) clearly enjoys engaging in the game, there’s an underlying sense that they are mere pieces in Soderbergh’s quick-paced chess match, here to entertain without delving into much depth. Nevertheless, the brisk pace of Black Bag renders such considerations almost irrelevant in the moment.

      A friend recently noted that since his brief, self-imposed "retirement," Soderbergh's career has largely focused on an accomplished director taking on projects that are entertaining but may lack lasting ambition. The self-contained, ouroboros narrative of Black Bag may not dispel any doubts from critics, but witnessing how Soderbergh and Koepp expertly place the viewer a step behind is an exhilarating experience. Not since his Ocean’s films has Soderbergh enjoyed so much fun in subverting audience expectations. If the looming industrial changes regarding James Bond and Tom Cruise's potential exit from Mission: Impossible have dampened enthusiasm for the spy thriller, Black Bag serves as strong evidence that the genre remains vibrant and alive.

      Black Bag premieres in theaters on Friday, March 14.