Cast:
Cate Blanchett (Kathryn St. Jean), Michael Fassbender (George Woodhouse), Marisa Abela (Clarissa Dubose), Tom Burke (Freddie Smalls), Naomie Harris (Dr. Zoe Vaughan), Regé-Jean Page (Col. James Stokes), Pierce Brosnan (Arthur Steiglitz), Gustaf Skarsgård (Meacham), Kae Alexander (Anna Ko), and Ambika Mod (Angela Childs) Directed by Steven Soderbergh (#984 - Logan Lucky, #1526 - Traffic, #1889 - Ocean's Eleven)
Review:
Sure, let's go with a movie like this to throw some variety into the theater experience* for 2025. It probably isn't surprising to note that the movie was written by David Koepp, who had previously co-written Mission: Impossible (1996). It was during the middle of the process of writing that film with doing research that led to the inspiration for what eventually became this film, specifically because he found the personal life of a CIA guy more interesting than the spy stuff when it comes to having difficulty to sustain a relationship. Koepp wrote the script during the writer's strike over the course of a few months; previously, Koepp and Soderbergh worked together on Kimi (2022) and Presence (2024).
You might have an interest in the movie when it comes to "sleek" espionage thrillers...if you are big on the personal life aspects and being tantalized by talking in rooms. It's the kind of movie that admirers will call "the kind of movie Hollywood used to make for adults" and others will call "not nearly as clever as it thinks it is". It is drawn out on dialogue about the uncertainties that, well, come with personal lives with varying levels of blood (personal life or otherwise); Who's Afraid of Virginia Woolf? might come to mind moreso than Mr. & Mrs. Smith (2005). It plays the game of observation and communication to 94 minutes that basically is a reaffirmation of one guy's love for his wife, if you think about it. Sure, one can't speak all they want to their wife about what they do (the term black bag was basically one Koepp made up, but go with it), but they can sure have fun with dinner games and conversation. You might as well call it a sharp smoothness when it comes to the dynamic between Blanchett and Fassbender, who have that sleek conviction in what they like to do (work or each other, either can be listed before the other). It basically starts and ends on separate dinner sequences that see our two leads watch the reactions of the others around them (one instance sees someone get their hand stabbed and then patched up, as one does) for an intimate movie. It is mostly enjoyable to see the game play out in viewing the interactions Fassbinder has with the others around him to set up his part of the trap as a man of the process that is pretty convincing and reflects well upon Blanchett, who has a cutting grace that might as well have the cutting power of a knife on butter. The others are fairly enjoyable in watching their timing when seeing things quickly play out (long story short: who plays who is actually who plays who plays who), which is mostly effective in seeing the vulnerabilities that play out with supposed "cool cucumbers" (as one might say) in Abela or Burke, which is a bit amusing. It casually lets its story elements play out in careful timing, right down to the sequence involving trying to seek out a liar with a lie-detector test. Its milage may vary on just how much one can take in dry suspense, but at least the experience doesn't try to pull the wool over your head and just ends where it feels best to do so. As a whole, it is a generally sleek movie to watch play out in the game of espionage and drawing out tension in the smoothest way possible that will work for those who buy in to what the film yearns to deliver in carefully constructed filmmaking. It is the kind of tight and snappy movie that you might want to see on a comfortable day.
Overall, I give it 8 out of 10 stars.
*I don't usually say it, but man, there were no other people watching this movie at 2pm on a Thursday with me. Hell, I saw Anora at 11am to exactly one guy and Novocaine at 4:45 had seven other people.
