Black Bag

A smartly drawn spy tale. As sophisticated as a dry martini.

This movie is Smooth Soderbergh. It’s brisk, engaging, humorous, well-directed, written and acted. You can put your brain in low gear and sit back and be entertained.

Soderbergh handles ensemble casts well, forming a constellation rather than centering any single person as a lodestar.

Like Presence, it's an interesting genre exercise.

In reality, this London-set spy drama is a coolly paced affair that luxuriates in its own cerebral suaveness.

The cast of luminaries lend the thinly sketched characters distinctive personalities, but the real star is the technology of spycraft: Soderbergh grimly delights in exposing its eerie powers and potentially devastating uses.

Steven Soderbergh surprises with a refined exercise in style sustained by the exaggerated magnetism of Cate Blanchett and Michael Fassbender. [Full review in Spanish]

For those who’ve been waiting for the filmmaker to recapture the magic of his pre-retirement glory days, Black Bag isn’t just a return to form—it’s a reminder of why we fell in love with his filmmaking in the first place.

Black Bag is the kind of deliriously fun, sexy, and smooth film people say doesn't get made anymore. It doesn't make a lick of sense if you think about it, but this horny take on Agatha Christie tropes is so much fun, I found myself not caring one bit.

Astute in its dialogue, tone, and pacing, the film is as much Soderbergh's as it is David Koepp's. [Full review in Spanish]