BLACK BAG – Review

(L to R) Regé-Jean Page as Col. James Stokes, Naomie Harris as Dr. Zoe Vaughn, Michael Fassbender as George Woodhouse, Cate Blanchett as Kathryn St. Jean, Tom Burke as Freddie Smalls, and Marisa Abela as Clarissa Dubose in director Steven Soderbergh’s BLACK BAG, a Focus Features release. Credit: Claudette Barius/Focus Features © 2025 All Rights Reserved.

Like a smart, stylish, twisty spy thriller with a dash of dry British humor? Then Steven Soderbergh has a film for you. BLACK BAG stars Michael Fassbender and Cate Blanchet as married spies George and Kathryn in this cleverly-written British-set spy thriller. When George is assigned to uncover a leak in MI6, one that risks exposing a top-secret plan called Severus, the pressure is on. “Fun and games,” as George puts it, ensue.

But it is not comedy but spy thriller jolts and twists we get. The film’s title comes from a term these married spies,use for things they have to keep secret, even from each other. “It’s in the black bag,” or just “black bag” is the phrase they use for those secrets, and in fact, everyone who works at the spy agency uses that term, as they are not the only couples there. If you are a spy, who else could you safely have a romance with besides someone at your agency?

BLACK BAG jumps right into things from the first shot, with titles on screening reading “Friday” and “London,” and a long take following George (Michael Fassbender) on a quick stroll through sophisticated London streets, which sets the film’s stylish tone. The shot follows him into a neon-lit club packed with dancers, down some stairs to a lower level, and out to terrace under stars, where he meets with fellow spy Philip Meacham (Gustaf Skarsgard). They chat briefly about Meacham’s marriage, which is on the rocks after he cheated on his wife, with Philip mentioning George’s famously solid marriage as the exception in their line of work. After George suggests that Meacham’s wife might be less angry if he goes home, they get down to business – which is that a traitor in their ranks who may have exposed a sensitive plan known as “Severus.” Meacham then hands George a list of possible suspects.

We don’t see the list but Meacham mentions that George’s wife Kathryn (Cate Blanchet) is on it, and then asks George how long the investigation will take. “About two weeks,” George replies, which prompts Meacham to say that if “Severus” gets out, thousands will die. “OK, one week,” says George.

That flash of dry humor also helps set the film’s tone, along with the visual elegance of the long opening single shot. But the opening sequence efficiently does a number of things besides that, including establishing place, who these characters are, the puzzle to be solved, all while adding a ticking-clock aspect to motivate the action. The film never even mentions MI6, but we can surmise that from the London locale. Hitchcock would be proud.

“Efficient” is a good word for this highly-entertaining thriller, which runs a mere 93 minutes. Those who complain about overly-long films should appreciate that, yet BLACK BAG gets everything done without skimping on visual style, atmosphere, or any needed element.

A couple of days after George’s meeting with Meacham, the latter dies suspiciously, upping the pressure to find the leak. George and Kathryn had already planned a dinner party for other couples at the agency, so George now turns the dinner into an opportunity to probe for information, as some of the guests are on that list we didn’t see. Kathryn asks him what’s on the menu, to which George replies “fun and games.” “Will there be a mess to clean up?” she asks. “With any luck,” he replies.

The “fun and games” is a reference to “Who’s Afraid of Virginia Woolf?” which goes to the original idea for the script, suggested to screenwriter David Koepp by director Steven Soderbergh, who wondered what if the couple in that novel were spies instead academics. But this couple in this clever script are not the angry battling pair in that novel and movie, even though Koepp retained the name “George” from the book’s George and Martha. Instead, George and Kathryn are devoted to each other, to the point where they might put their marriage above anything else, which raises some interesting questions for a married pair of spies hunting for a traitor in their midst.

There are more literary and cinematic references, in this smart and gripping spy drama, which combines John LeCarre with Agatha Christie, tosses in some “Mr. and Mrs. Smith” and adds a dose of dry British humor, for a highly entertaining espionage mix.

BLACK BAG is an exciting spy thriller/drama but it is not an action film. There are no car chases and no shoot-outs although there is some violence and blood. The focus is more psychological thriller and solving the puzzle, with plenty of tense suspense and strong character development.

The film’s short running time and efficient direction mean that not much is spelled out or repeated, so audiences need to pay attention. However, we do get some reminders about important points, and nearly every character mentions George and Kathryn’s strong marriage, a key aspect in the plot.

There is a good deal about relationships in the film, with explorations of the others’ romantic relationships (which go to the whodunit plot) and there are some slightly steamy romantic scenes between Fassbender and Blanchet. No sequence runs very long, just enough to make the point well. The film moves at a brisk pace as it twists through it’s story, although never so fast that you can’t keep up – if you are paying attention.

Fassbender and Blanchet are both marvelous here, perfect in their scenes together. where they radiate sexual chemistry, and in their individual scenes. The rest of the cast are outstanding too, with a cast of characters who fascinate, who are mostly other couples. Tom Burke and Marisa Abela play Freddie and Clarissa, a couple mismatched in age but who have other attractions along with plenty troubles underlying their fiery romance. Rising-star Col. James Stokes (Rege-Jean Page) and in-house psychiatrist Dr. Zoe Vaughan (Naomie Harris) are better matched in age but less so in temperament. Pierce Brosnan plays a senior spy and team leader, Arthur Stieglitz, who has been there since the Cold War, while Gustaf Skarsgard makes a strong impression in his two scenes early on as Philip Meacham, with Kae Alexander in a brief appearance as his wife Anna.

For fans of clever spy thrillers, BLACK BAG is great fun. Steven Soderbergh’s couple-centered spy thriller is not a film with any grand statement to make, but it is a highly entertaining spy thriller that combines the chilly atmosphere of John LeCarre’s spy novels with Agatha Christie’s twisty cast-of-characters mysteries. If you enjoy any of that, plus a clever, original script with a plot to keeping you guessing, a touch of hot romance, and an intriguing bunch of characters with their own problems, BLACK BAG is just the ticket for you.

BLACK BAG opens Friday, Mar. 14, in theaters.

RATING: 4 out of 4 stars

NIGHTMARE ALLEY (2021) – Review

Step right up, folks. Even though the temps are dipping (in most states), the fine folks in “Tinsel-Town’ want you to take in the wonders of a traveling carnival. Oh, you’ll also have to take a long trip back in the past, when these operations drew in the rubes…er..crowds. Say around 85 years or so ago. So besides the usual oddities of nature and games of chance, there’s plenty of duplicities, fraud, and even a murder or two. And just who’s running this group of startling attractions? Why it’s none other than an Oscar-winning director. He’ll be making sure you get your ticket for a stroll down NIGHTMARE ALLEY. If you dare….

But first, we’re introduced to the story’s protagonist (I almost said “hero”). Stanton “Stan” Carlisle (Bradley Cooper) is “hoofing it” on the rural backroads of 1930’s Depression-era America. He stumbles upon a traveling carnival trying to pack up the tents before a big storm hits. The show’s ” big boss” Clem (Willam Dafoe) promises Stan a “hot meal’ if he’ll join the “rousters”. Later the duo teams up to track down and capture the escaped “geek”, an animal-like drunkard who bites the heads off of live chickens to earn a bottle of “hooch”. An impressed Clem decides to “take on” Stan. But he needs to get the “road grime” washed off. Luckily the next “set-up” is nearby the cabin of boozy Pete (David Strathairn) and his wife Zeena (Toni Collette) who offer their bathtub for a “dime a dip”. As Pete “sleeps one off”, Zeena makes sure that Stan is “thoroughly clean” (if ya get my drift). As he becomes a frequent houseguest, Stan learns that the couple once had a phony “psychic’ act, one that involves Zeena using “code words” to get the proper response from Pete. The ambitious Stan decides that he’ll help them “revive” the bit after ‘selling” it to Clem. But that’s not the end of Stan’s interests. He starts pursuing the lovely young Molly (Rooney Mara) who pretends to take on thousands of volts as the “Electric Girl”. Deciding the carnival’s not big enough, Stan swipes the prized psychic act “codebook” and takes the “grift” on the road with Molly as his aide. Eventually they’re the big deal at nightclubs, with Stan looking suave in spats and tails. So sharp that he attracts the attention of the psychiatrist to the “swells”, Dr. Lilith Ritter (Cate Blanchett). She knows he’s a “phony”, but still enlists him to “con” several of her wealthy “patients”. After he hooks a grieving couple, the duo set out to “hook a whale”, ultra-rich Ezra Grindle (Richard Jenkins). But Lilith warns him that this fish “bites back”. Can the former “carny'” bamboozle him? Or, is it possible that Stan can actually contact ‘the great beyond”?

Whew, talk about an “all-star” cast, as they’d tout in Hollywood’s “heyday”. Ah, but first and foremost, driving the tale is Cooper as the man with a dark past whose morality careens towards utter blackness rather than the light. And all in pursuit of the almighty “buck”. We see him almost literally stumbling along until the carnival gives him purpose. He becomes more confident, as Cooper clears up his “Oakie” mumblings in order to sell his new “skills”. He has a shot at redemption with the somewhat innocent Molly, but she’s just another way to get to the top. No amount of fancy tuxedos can hide his devious ambitious nature. But he almost meets his match in Blanchett’s Lilith, a classic film femme fatale, wrapped up in a scholarly guise. Her silky seductive line delivery spins a tempting web of high-style heresy. And she knows she can make Stan jump for her “bait”. Mara, as Molly, seems to be the only character capable of escaping “the life”, as her misplaced love for the smooth-talking Stan pushes her into repugnant duplicity. Mara shows us how that light in Molly’s eye slowly dims as they go for the “brass ring”. Zeena, played by a sultry Collette, has given up on that ring until the hunky young Stan flashes his eager smile making her take down her “guard”. Jenkins gives the “mark” Ezra an interesting duality. Grief has him obsessively clinging to a chance to correct his past, but his seething cruelty overrides any empathetic feeling toward the lonely tycoon. Dafoe is full of energetic bluster as the blowhard barker, scoring with a terrific monologue on how to “groom a geek”. Strathairn makes Pete a sad confused sotted cuckold, while Ron Perlman is an intimidating physical menace as the over-protective (of Molly) sideshow strongman.

Just for fun here’s the poster for the first version of the story…

Oh, the Oscar winner “pulling the strings” behind the camera is the modern master of movie macabre, Guillermo del Toro, in a quite different follow-up to that “swoony” fantasy love story/monster fable THE SHAPE OF WATER. There’s little romance in this stylized “fever-dream” full of lust and avarice. Ah, but what style is to be savored. The story’s almost slashed in half, with the opening carnival sequence showing the “low”, sleazy squalor, while the second half bathes in rich colors and textures as the actions shift to “high” gear in plush offices (Lillth’s “den of debauchery”), the flashy nightclubs, and the fortress-like mansion of Ezra, all accented by the swirling soundtrack by Nathan Johnson. And if the story sounds a touch familiar, then you’ve been a fan of the old “late, late film shows”, or more recently TCM or the Fox Movie Channel. While there’s an excellent black and white film from 1947 (worth seeking), del Toro insists that this isn’t a “remake”, but rather a different take on the celebrated novel by William Lindsay Gresham. (this version ends more honestly than the censors then would allow) The screenplay shifts the actions from the 1920s to the still economically desperate mid-1930s (rumbling of unrest in Germany), and del Toro (who co-wrote it with Kim Morgan) really plunges into the twisted nature of the main characters. All the while, exploring the fascinations of “seedy show biz”, especially in the traveling carnival. The attractions lure in the “rubes’ with promises of sex and, oddly, death (the Electric Girl could be “fried to a crisp’, but. wow, she’s almost in her “undies”). Though the pace bogs down a bit in the third act, the expert art direction, incredible costumes, and the superb cast makes this a truly wild, and wonderful, walk on the “wild side” via a jaunt through NIGHTMARE ALLEY. Now, move along folks…the exit is right this way…


3 Out of 4


NIGHTMARE ALLEY is now playing everywhere including the Hi-Pointe Theatre in St. Louis, MO

OCEAN’S 8 – Review

(L-R) SANDRA BULLOCK as Debbie Ocean, CATE BLANCHETT as Lou in Warner Bros. Pictures’ and Village Roadshow Pictures’ “OCEANS 8,” a Warner Bros. Pictures release. Photo Credit: Barry Wetcher.

OCEAN’S 8 continues the OCEAN’S 11 film franchise with a clever twist, all woman team to carry out a new heist. But it isn’t just the cast that has changed, this is a whole new game, in this surprisingly fun and entertaining fourth film in the series. It is just light entertainment but it is fun.

The 2001 George Clooney OCEAN’S 11 was, of course, a remake of the 1960 Rat Pack classic caper film of the same name. The origin had a collection of old army buddies led by Danny Ocean (Frank Sinatra) carrying out a complicated Las Vegas casino robbery, partly as a lark and partly for the dough. The original was as much about the snappy patter between the cast as the heist and had a good dose of humor. The George Clooney re-boot captured some of the glamour and fun but maybe with a tad more focus on the heist.

This fourth sequel reboots the whole thing, using the all-female cast as a springboard. There are references to the cast of the previous Ocean’s films but for the most part this is a new cast and a new concept. While all the previous versions are set in Las Vegas, a guy’s glittering fantasy playground of casinos, showgirls, highballs and fast cars, OCEAN’S 8 re-sets the caper in an equally iconic woman’s glittering fantasy playground – a New York City world of shopping at Bergdorf Goodman, Cartier jewels, high-fashion, celebrities and fine art. This new heist aims at jewels – during the most dazzling party of the year, the Metropolitan Museum of Art’s Met Gala, a star-studded, diamond-drenched, couture-clothed multi-million dollar event that opens the museum’s Costume Institute’s new exhibit featuring the crown jewels of several royal houses.

Gary Ross directs and co-wrote the script. Ross’ OCEAN’S 8 keeps the idea of a cast of quirky characters, who each have a special skill, involved in an elaborate heist. Sandra Bullock plays Danny Ocean’s newly-paroled sister, Debbie Ocean, who just seems to have larceny in her blood. She re-connects with old pal Lou (Cate Blanchett) and sells her on a new plan to steal fabulous jewels at the biggest celebrity party of the year.

The rest of the team consists of fence and con expert Tammy (Sarah Paulson), a jewelry expert Amita (Mindy Kaling), hacker Nine Ball (Rihanna), and pickpocket Constance (Awkwafina). The plan is to steal a famous Cartier necklace, a scheme that requires them to bring in a fashion designer Rose Weil (a delightful Helena Bonham Carter, taking a break from her dark persona to play a more ditzy one) and a movie star attending the gala, Daphne Kluger (Anne Hathaway, also delightful in her role). The fashion designer is in on the plan but movie star is not, which makes things a little tricky.

The film is a delight of cleverness, glitter and glamour. The cast is dominated by women, with men only playing minor roles, a nice switch on the usual (and making this a film that more than meets the Bechdel test (two or more women characters, who talk to each other, about something other than a man) for those who keep track of that. The male cast members include Richard Armitage as Debbie Ocean’s artist ex-boyfriend Claude and James Corden as an insurance inspector.

Besides the lead roles, the film is peppered with delightful cameos, such as legendary fashion editor Anna Wintour. There are also appearances by a host of older legendary actresses in a sequence late in the film.

All this great casting and sparkling setting would be wasted if the film did not entertain, but it does. With a touch of inspiration from caper films of the 1960s that featured women in the lead as well as the OCEAN’S 11 franchise, OCEAN’S 8 delights with its complicated plan, ensemble of quirky characters, the nail-biting execution and all the twists and turns in the plot these bold women carry out with style and bravura.

OCEAN’S 8 is an unexpectedly fun sequel, just light entertainment but a film both men and women can enjoy, although maybe a bit more fun for women, The plot is a bit more caper and a tad less comedy than previous Ocean’s films,but still tons of fun. It is just good escapist entertainment, with a nice women-forward focus and an outstanding ensemble cast, that sets up for a refreshed series of Ocean’s films.

RATING: 3 1/2 out of 5 stars