Cert – 15, Run-time – 1 hour 34 minutes, Director – Steven Soderbergh
Veteran spy George (Michael Fassbender) is on the hunt for a traitor involved in the selling of a top-secret device which if used could create global nuclear disaster, however could the person responsible be his wife (Cate Blanchett)?
One of my favourite screenings that I’ve been to was the LFF press screening for Knives Out. After Daniel Craig’s Benoit Blanc details not just who the murderer is but how the executed the twists and turns of their scheme a round of applause and cheers spread throughout the screening room. As Black Bag nears its conclusion in much the same way as it started, a group of colleagues sat around a dinner table, the big reveal is deserving of the same reception.
Michael Fassbender’s stony-faced and analytical spy George Woodhouse is hunting down a traitor within his close circle. Someone who has sold a top-secret device which could lead to tens of thousands of deaths in a nuclear disaster, increasing global tensions in the wake of it. After an extended opener seeing the potential suspects quizzed about their lives, relationships and resolves the elements are all in place for the game of suspicion to truly take shape. Yet, the person George most reluctantly suspects seems to be his wife, Kathryn (Cate Blanchett), also a spy and flying out on a secret mission in a couple of days. But, when lying is not just a part of the job but also the relationships at the core of the film how many layers have to be peeled back to find the truth?
Fassbender and Blanchett are fantastic in their respective roles, capturing a flirtatious wink within the central relationship which could be filled with deception. Back-and-forths and mistrust appear to be key to their years-long marriage, one noted by many in the organisation, but what they’re not showing isn’t a matter for either figure but the audience. George’s search is kept to those close to him, kept refined by the ways in which other figures are connected, whether it be romantically or through workplace shrink Dr Zoe Vaughn (Naomie Harris). With the refinement comes consistent links and developments which hold each other up and allow for the supporting cast (also including Tom Burke, Regé-Jean Page, Marisa Abela and Pierce Brosnan, all on entertaining form) to each have chances to shine and be a major suspect.
Fittingly for the execution of the conclusion the developments begin to play out like a murder-mystery. There’s a delicious nature to the entertainment factor of the film and how slickly it cruises through its events, backed by David Holmes’ bouncing, jazz-inspired score. David Koepp’s screenplay is tight and focused, as is the final edited cut of the film, clocking in at a breezy 94-minutes. So much is contained in that time which grows from the key sequence towards the start, with a scene of table-based chat avoiding a stage-like feel as Steven Soderbergh’s camera remains focused throughout. Growing our interest in the arguments and tensions at hand from the initial quiet spark.
Once engaged, which happens quickly as the characters are clearly laid out from the early stages, the spy thriller narrative develops quickly with plenty of intrigue to be found in the possible yet uncertain layers of lies and deception. All leading to an applause-worthy reveal worthy of a fine murder-mystery.
Tightly told, Black Bag is a deliciously slick spy thriller which plays out with the entertainment factor and layered nature of a great murder-mystery, pushed by a starry ensemble who match the focus of the camera and bounce of the score.
Just A Little Bit Random 