The Wasteland Reviewer

Black Bag (2025) Written Review

Wait…Steven Soderbergh has ANOTHER film already releasing in 2025? Presence was not what the marketing made it out to be (one of the scariest films of the year) but it delivers a compelling, filmmaking conceit and as well as a moving family drama with plenty of surprises. But Soderbergh’s next flick is less of a high concept filmmaking experiment but still embodies the incredible talents of its filmmaker. Espionage. Twists. Turns. Sleek. Black Bag. 

Let’s start with Soderbergh, shall we? This film is sleek and engrossing in a way that only Soderbergh consistently delivers. From the opening sequence, which is a long take following Michael Fassbender’s George Woodhouse in and out of a club, you know you are in great hands. The visuals of the film are ever so Soderbergh with the texture and atmosphere that has become his trademark. Soderbergh does his own cinematography, and he delivers compelling and dynamic decisions. There is a drone sequence in the film that mixes a long take, music, and practical effects to deliver an explosive moment. The editing is so sharp that it dictates the great pacing and delivers some engrossing sequences of both tension and humor. There is a lie detector sequence that is one of the film’s highlights with Soderbergh’s own editing being the real hero of the sequence. Soderbergh cannot do it all…so he got David Holmes to come in and deliver a slick and cool score that is the perfect clash and conflict of traditional jazz feel with electronic tones. 

Does David Koepp’s script match the compelling filmmaking of Soderbergh? The film’s only gripes do appear in the script, but Koepp delivers yet another compelling espionage experience (quite like his work on Mission: Impossible). The film does offer up a MacGuffin-driven narrative which is not necessarily the most interesting thing. This mysterious and non-descript weapon does the job of bringing weight and fear to the film. There are some beats in the second act that might lag a bit, but Koepp does craft an overall narrative with compelling threads, characters, and themes. This captures a biting and relevant commentary on the present issues in Eastern Europe. But this film really rides high on the characters and their dynamics. Perfectly written dinner parties, interrogations, and fishing outings make this such a compelling experience. The mystery has plenty of twists and turns along the way that will keep you on your toes. But the intriguing dynamic between Fassbender’s George and Cate Blanchett’s Kathryn is what pulls you in and keeps you guessing. 

What element of the film really ties this all together? This ensemble. Fassbender is cold, calculating, and perfectly calibrated for the character of George. The way that Fassbender plays with the whole rest of the cast is impressive but more importantly endlessly entertaining and engrossing. Blanchett is seductive and powerful as she sustains a great bit of mystery as well. You are not quite sure if she is guilty or not, but her demeanor and presence will keep you guessing. The rest of the cast does some great work as well (minus one performer who is very attractive but honestly a bit boring…Rege-Jean Page). Tom Burke is endlessly charismatic and has great screen presence as he injects watchability into quite a scummy character. Marisa Abela balances young, impressionable, starstruck, and alluring in such a unique way. Naomie Harris is always great and delivers another strong performance here. Pierce Brosnan being suave is just the cherry on top. 

Does Black Bag continue the impressive career of Soderbergh with another win? This suave, sleek, and engaging espionage thriller is certainly another big win. This ensemble cast offers so much to this film as they offer up a great gallery of characters. The technical aspects at top tier thanks to Soderbergh’s talents. Mystery. Thrills. Twists. Black Bag is just such a good time at the movies.