By: Hunter Montroy

Director: Steven Soderbergh

Writer: David Koepp

Cast: Michael Fassbender, Cate Blanchett, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, Pierce Brosnan

Steven Soderbergh is quite the powerhouse director, cinematographer, and editor, isn’t he? He truly does it all. He consistently delivers projects, working harder than anyone else while maintaining an impressive level of quality. It’s honestly hard to imagine how he finds time for anything else in his life. He seems to live and breathe film and television, regardless of whether the budget is minuscule or blockbuster-sized.

Black Bag is exactly as everyone describes it. Slick, sexy, and smart. These aspects are what make the Bond franchise so damn good, and thankfully Black Bag maintains that momentum. A moderately budgeted film like Black Bag feels increasingly rare these days. It demands a certain patience from the audience, slowly pulling you in and tightening its grip throughout its brisk 94-minute runtime.

The entire cast complements the plot and each other perfectly. Each character feels genuine in their performance, contributing to a sense of believability yet maintaining an uncertainty about who the mole within the organization truly is. The small group under suspicion is portrayed as messy, unorganized individuals, each seeking an advantage for themselves. Michael Fassbender, who portrays George, plays a character somewhat reminiscent of his role in David Fincher’s The Killer, albeit with more compassion and morality. His character suits Fassbender well, as his role requires a nuanced personality that the actor effortlessly portrays. Given that Soderbergh watched The Killer multiple times several months prior to release, I assume Soderbergh acted fast to get the ball rolling with Fassbender to maintain that energy.

There’s an appealing sense of discomfort in Black Bag, enhanced by numerous scenes unfolding patiently without any noticeable musical score. Conversations between characters are crafted with elegance, whether they’re between George and his wife, Kathryn, portrayed by Cate Blanchett, or among others within this small circle. Each character delicately pries for information, carefully avoiding missteps. Everyone is effectively engaged in a game of chess, regardless of their relationship.

Soderbergh delivers his signature visual style with each frame, significantly contributing to the strength of Black Bag. He opts for soft-focus shots and warm lighting, particularly during scenes set in characters’ homes—where many pivotal conversations occur. The visual choices add to the fuzzy and unsettling atmosphere, allowing the audience to discover information in tandem with George.

What prevents the film from being perfect in my eyes? I look forward to rewatching it, but admittedly, the beginning takes a bit of time to gain momentum and fully draw you into the narrative. Perhaps I was initially anticipating something slightly more grandiose, but what it ultimately delivers still works incredibly well. By the end, I found myself thoroughly enjoying the experience, wishing it were about 30 minutes longer. Black Bag is excellent—another classic banger from the master himself, Steven Soderbergh.

Final Score: 8/10