.

Director Steven Soderbergh has given audiences an incredible array of different types of films over the years, from the serious true life stories of Erin Brockovich and Traffic, to thrillers like Side Effects and Unsane, the saucy dramas Sex, Lies & Videotapes and Magic Mike, and quirky comedies such as Logan Lucky and The Laundromat. There are way more but you’ve got access to IMDb, you see for yourself. This one returns to the the style of the movies he is probably most famous for though, complete with a funk beat electro soundtrack by David Holmes, this time centred around a group of contemporary MI6 spies.

It’s basically Ocean’s 007.

Of course, once I’ve stopped high fiving myself for that one, I have to admit it’s actually more John le Carre than James Bond (despite some shared cast members) but Smiley’s Eleven doesn’t work as well. Michael Fassbender is giving off quite strong Harry Palmer energy too. The straight forward story has his Section Head George Woodhouse charged with finding a traitor among a group of five close allies, including his own wife. Any action that there is happens almost entirely in rooms, offices, around tables and in rowing boats, but while it is talky it is also brilliantly tense and oh so very cool. Those rooms are also beautiful. 

I guess it compares a little to Conclave in how it creates its intrigue and drama through a wonderful script and great performances but it often feels a bit more of a parlour piece than that and there is indeed something quite Agatha Christie about everyone being gathered together for the denouement. Alongside Fassbender we have Cate Blanchett, always the epitome of grace under pressure, as well as Tom Burke, Regé-Jean Page and Naomi Harris. It is a great ensemble. Finishing off the group is Marisa Abela who may not be as well known (despite recently playing Amy Winehouse and being nominated for the BAFTA Rising Star Award) but almost steals the show. 

The narrative may not be that surprising in the end and the plot does hang around a bit of a McGuffin, but it is more about the individual moments that the climax. The finale does not disappoint but the movie has earned such favour by this point it almost doesn’t matter. The title Black Bag refers to a metaphorical place where secrets are hidden but this film lays out all of its treats one at a time for the audience to enjoy and talk about afterwards. 

More than a lot of his other varied work then, this shows Steven Soderbergh as a filmmaker totally and meticulously in control of his craft. There is no excess or indulgence here, it’s not trying too hard to be showy and it runs for just ninety three minutes. It’s a pretty perfect night at the cinema.