Richard Tobin unfolds the various lies and subtle thrills that build much of Steven Soderbergh’s Black Bag, an excitedly paced spy thriller
Black Bag (2025) is probably a spy movie unlike anything you’ve seen before. I suspect it won’t be for everyone, but for those who like it, they’ll really like it. Starring big name stars like Michael Fassbender, Cate Blanchett, Naomie Harris, Regé-Jean Page and a small role for Pierce Brosnan, it’s a movie that deserves to be seen on the big screen despite its relatively small scope. The film follows British intelligence agents George and Kathryn Woodhouse (Fassbender and Blanchett respectively), whose marriage is tested when a top secret cyber weapon falls into enemy hands. Tasked with uncovering a mole within their agency, George must confront the possibility that Kathryn is the traitor. As they navigate a web of deception, their commitment to each other faces unprecedented challenges, blending high-stakes spy intrigue with a complex marital drama.
Black Bag differs from more traditional espionage thrillers in the way that flashy action scenes take a backseat; the focus is instead on character dynamics and power struggles, of which most unfold in dialogue heavy, conversation based scenes. For some, this lack of action will be a turn off but I loved David Koepp’s script and the way his writing created high tension.
The film’s length is a trim 94 minutes and after the brilliant opening scene which sets up the films main conceit, the film is a perfect exercise in creating tension and keeping only what is necessary. The film’s fast pace and the way it zips from scene to scene, yet still manages to keep its suspense and intrigue, is one of its most well executed aspects.
The film is populated by complex, morally dubious spies who all have their own agendas and intentions behind what they do. A lot of the film’s themes revolve around lies and the titular “black bag” code the spies have for keeping information confidential. Seeing the inner conflicts and politics work itself out is what makes the movie so enjoyable. The film’s ticking clock plotting adds to the suspense and mystery of seeing how the characters react to the situations they’re in. One of my favourite scenes highlighting this is a brief moment between the Woodhouse couple as they watch a movie at the cinema - despite high tension, the subtleties play out in such a fascinating way.
It really is such a unique spy movie and everything about it is refreshingly different to what we’ve come to expect from the genre. It's hard to conceive of a 007 movie showing James Bond in one of his mandated therapy sessions, whereas this film wholeheartedly leans into it. The film makes many small touches to interject everyday life into the characters - they vape, their chats are abruptly cut off by the familiar chime of an Apple ringtone and they meet for drinks while ‘Up The Junction’ (a really great song) plays in the background of the pub. The film’s production design and how their homes and offices are lavishly designed for style as opposed to practicality speak to the fastidious craft that went into its production. The film retains the traditional “sleekness” of a spy movie but Soderbergh and Koepp make it their own authentic thing. The cast offers amazing performances across the board- as I mentioned there’s a lot of big names among the cast but they all seamlessly fit into their characters and fully realise them.
As director, Steven Soderbergh continues to display his ability to make movies that the average cinemagoer will enjoy without sacrificing his own creativity. Which is to say, Black Bag is no different to movies like Erin Brockovich (2000) and his Ocean’s trilogy.
March has been a relatively quiet month for new releases after the frenzied, prestige-picture-heavy start to 2025, and I firmly believe if you had to pick one movie to see at the multiplex this month, it should be Black Bag. A truly unique, refreshing spy thriller.