The Insider

Greetings again from the darkness. Are you ready for 90 minutes of cool people wearing cool clothes and doing cool things while acting cool in the face of danger? If so, this one is for you. Oscar winner Steven Soderbergh (TRAFFIC, 2000; OCEAN'S ELEVEN, 2001; OCEAN'S TWELVE, 2004) dons multiple hats here as director-producer-editor-cinematographer (some under familiar pseudonyms). The screenplay comes from well-known writer David Koepp (JURASSIC PARK, 1993; MISSION: IMPOSSIBLE, 1996). The pedigree of these two is exemplified by the cast assembled.

George (Michael Fassbender) and Kathryn (Oscar winner Cate Blanchett) star as husband and wife secret agents that have pledged to kill for each other if ever necessary. Really, that should be part of every wedding vow. Fastidious George has built his reputation on his mystical ability to spot a lie, and has no room for anyone who is less than honest. Glamorous Kathryn excels at her missions and when secrecy is required, one spouse will utter the magic titular phrase, "black bag". This signals, 'I love you, but can't tell you more'. They live in a stunning London apartment, which serves as the setting for two particularly crucial dinner parties.

Every spy story worth its mettle has at least one MacGuffin, and ours is Severus, a sophisticated code worm designed to take control of nuclear weaponry. While it gets mentioned numerous times, the real story here is in discovering who the mole is inside the Secret Intelligence Service managed by Stieglitz (Pierce Brosnan). The five suspects George must investigate include computer analyst Clarissa (Marisa Abela, BACK TO BLACK, 2019), easily tempted agency veteran Freddie (Tom Burke, so excellent in THE SOUVENIR, 2019), suave and self-confident Stokes (Rege-Jean Page, "Bridgerton"), and staff psychologist Dr. Zoe Vaughn (Naomie Harris, MOONLIGHT, 2016). You'll notice that's just four suspects, as the fifth (unknown to her) is George's wife Kathryn. Adding to the intricacies of the jobs, the dinner parties, and this mole mission is the fact that George and Kathryn aren't the only couple in attendance. Clarissa is dating the older Freddie, while Stokes and Zoe are also seeing each other ... and there are likely other surprise complications with this group.

True fans of spy thrillers should know that this is not a new TINKER TAILOR SOLDIER SPY (2011), but rather a user-friendly story in the mold of the "Mission: Impossible" movies - only with less action and no high-wire stunt sequences. Instead, these agents withhold a lot while still talking a lot (some of the dialogue is quite funny). It's more of a personality chess match than an assault on our senses. Complementing the verbose proceedings is a perfect twisty jazz score from David Holmes. We must also take note of the numerous ties to the James Bond franchise (Brosnan, Harris, and rumors), and it's best to just sit back and enjoy Soderbergh in his element (this is his second film released in 2025) ... entertainment with a cool vibe.

Opens in theaters on March 14, 2025.

I have to confess that I have tried my best to sit through watching it, but I failed...gladly.

I don't know why this movie, with several men and women sitting around a dinner table, kept blabbering to each other, would cost and consume 50 million dollars to make. How much did the producers pay each of these actors to sit down? Maybe they spent a lot of the movie budget just for the black plastic glass frame for the guy, even if it looked so unnecessary and so fake on his face?

I have also found that the dialogue of this movie is just so irrelevant to me. I couldn't even understand what it meant, maybe not just to the participant actors who could ingeniously memorize the wtf? Dialogue, but to a lot of the viewers, including me. I have watched some movies with only two actors sitting facing each other and talking from the very beginning to the end, but I found them so interesting and never lost my focus. But the dialogue of this Black Bag, with more people talking to each other, I didn't even know what they were talking about and couldn't care less.

Black Bag (2025) would be one of the most tedious and meaningless movies that I have watched in the last 50 years.

Cate Blanchett didn't age well and did an abysmal facelift job that almost made her unrecognizable and tough to look at.

This taut spy thriller from Stephen Soderbergh doesn't exactly reinvent the wheel of the spy fiction genre, but it's definitely and thoroughly well-made and well-acted. Viewers should first and foremost know that this is a small-scale drama/thriller without action scenes and mostly set in a handful of relatively confined locations, so it is definitely not like a James Bond or Mission Impossible-style spy movie. For patient and sophisticated viewers who enjoy a lot of cleverness with their mystery and intrigue, "Black Bag" will prove to be an entertaining watch. The cast is generally pretty good, especially Michael Fassbender and Cate Blanchett, who are the two leads.

The film feels stylish and polished despite its small scale and brief running time. Soderbergh's deft direction keeps things running quickly and efficiently, paying special attention to the psychological and intuitive motives of the characters. The plot developments aren't particularly unique compared to other spy films, which is what holds back "Black Bag" from being truly great, but its commitment to creating intriguing narrative tension in an entertaining way and at a small scale is commendable. Recommended. 7/10.

There's just about enough intrigue in David Koepp's efficient script to hold the attention in trying to decipher what is going on in Steven Soderbergh's underwhelming spy thriller which is more like a theatrical play than a cinematic experience.

All of the assembled cast do a sufficient job in delivering a very talky script. I especially liked Michael Fassbender's concise and measured performance as the spy ordered to get to the bottom of a leaked top secret software program that could jeopardise national security where his wife, Cate Blanchett, is one of the suspects.

For me Soderbergh never quite scratches my itch when he attempts to do 'cool' like he did with the Ocean trilogy. There's a cold aloofness that prevents me as a viewer to get completely wrapped up in the story he is trying to tell. Also with Black Bag I wasn't keen on the cinematography which looked like a creative decision to make most light sources seem diffused, presumably to make this look like an old fashioned espionage thriller from the 1960's. Fassbenders character certainly has shades of Harry Palmer to him, especially wearing those trademark black glasses.

Despite it being talky and smart it's not that taut and I would like to have seen a bit more action and a few surprise twists for there to be a better payoff for all the concentration the viewer has to endure to get to a rather mediocre finale.

I find myself increasingly weary of the spy film genre, especially those that center around a romantic couple. It has become a trope so familiar, so predictable, that the very notion of it now feels like an exercise in the mundane. Each iteration feels almost mechanically constructed, as if there is an unspoken formula at play, one that prioritizes style over substance, a kind of cinematic sleight of hand designed to keep the audience distracted from the lack of originality beneath the surface. In this particular instance, however, the dialogue attempts to elevate itself above the usual banter of its kind, but only to the point of indulging in an almost ostentatious, borderline pretentious, air of intellectualism. There's a certain artifice to it all-an effort to sound clever, to sound profound, that ultimately rings hollow. The conversations between the characters, rather than offering any real emotional depth or compelling insight, instead feel like performative displays of wit, which do little more than alienate rather than engage. This was a film that seemed more concerned with showcasing its own perceived sophistication than with crafting any meaningful connection with its audience. And yet, despite all its verbal flourishes, it never once managed to grasp my attention in any truly significant way. The pacing felt sluggish, the stakes hardly compelling, and the emotional core-if one could even call it that-was so underdeveloped it barely registered. In the end, it was less a work of cinema and more an exercise in style over substance, one that never captured my imagination or curiosity.