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While the supporting cast are impeccable across the board, it’s really Blanchett and Fassbender’s film to command, with performances that drip with old-school star power.

Seeing how Soderbergh and Koepp can expertly stack the deck to always be one step before the viewer is an exhilarating thrill to behold.

When it comes to sleek, stylish genre movies, Soderbergh remains a maestro at the top of his game.

Black Bag is a reminder of just how enjoyable Soderbergh can be when he’s riffing on well-worn genre material.

Highly entertaining from start to finish, the film benefits from David Koepp’s inventive screenplay and Soderbergh’s storytelling swagger.

Human weakness is 'Black Bag’s' greatest strength. It’s an insidiously great spy movie, mature and satisfying.

Its story of three couples working at the same British agency turns all the right screws with impeccable timing, forcing its characters to examine the flaws in their relationships as its tale of state secrets gradually unravels.

Without slackening its tension, Black Bag sometimes resembles a bitter comedy of manners, which are apparently also kept in the black bag for certain stretches. These are people who like to tell each other what they find irretrievably boring, especially if it’s each other, whether or not they’re even telling the truth about their disdain.

Black Bag succeeds on its chilly wit, and on the cool, nervy appeal of its two stars. Blanchett strides through the movie with lioness grace; Fassbender makes George’s robotic use of logic seem like an aphrodisiac.

Steven Soderbergh’s downbeat, affectless tongue-in-cheek spy comedy (“caper” isn’t quite right) is in this new mode, though taking itself to the edge of self-satire, with a few 007 refugees in the cast, efficiently scripted by David Koepp.