Black Bag (2025)

It’s taken us almost 3 months to get to a film that might be worthy of end-of-year consideration for a top 10 list. Stephen Soderberg had a movie out in February that I missed, a horror film called presence. If that movie was as good as this one I’m definitely going to have to go back and catch it, because black bag is a very good film. This is a movie with three or four very brief action scenes, but a whole lot of plotting and clever interaction between the characters. This is a spy film that takes the world of espionage more seriously, and as a result is a lot more complex.

The film stars Michael Fassbender and Cate Blanchett as married agents of MI6, who in there personal lives sometimes have to close off what they’re working on from their partner. When they’re responsibilities intersect, there’s usually going to be trouble and that’s exactly what you get in this film. There is a MacGuffin, but we actually know what it does so unlike the ambiguity of a Hitchcock film, we understand the stakes once the plot reveals itself. Fassbender’s character is tasked with finding the person Within the agency who is responsible for selling off a very dangerous piece of software. Blanchette meanwhile is in pursuit of the same software but in the form of a customer trying to lure the technology into the open. These cross purposes are going to lead to complications, but the resolution of these complications will be pretty clever.

I like the fact that there’s a lot of conversation, especially in the First Act, most of which is there to establish the secondary characters and Main suspects in the plot. We also get a sense of what our two main characters are capable of, and if you listen to what they say we also get a sense of their Devotion to one another. That commitment is one of the twists that drives the plot, because someone is counting on these two putting their personal lives above the professional responsibilities. The film I think this is most comparable to is the 2011 version of Tinker Taylor Soldier Spy. That film, led by Gary Oldman, is full of complicated plot twists and characters with multiple motives, that you will get lost in if you are not paying close attention. It would be very dangerous to go to the bathroom and miss any scene in the movie. Black bag is exactly the same kind of film. If you are not paying close attention you are going to miss something. I suspect that this will be a terrible movie for people to be watching on their phone, you are here by warned.

As usual the two leads are spectacular. Fassbender’s character seems cold and calculating on the outside, and to be intellectually Superior to everybody else in the agency. This of course also leaves him not with friends but with Associates. He takes advantage of the leverage that he gains over these associates through his personal connections and his professional responsibilities. The way in which he uses this power seems cruel at times but it certainly is efficient. Blanchet is a field agent and we get a couple of opportunities to see her in operation, and she certainly seems ruthless herself. At one point she makes a decision, one which would probably not be supported by her superiors, but which shows that she is decisive and capable.

Black bag may not be for everyone, because it is a slow burn in the first half, and a rapid goalie coalition coalescence of Clues and threads at the climax. I thought the resolution was quite satisfying, and there’s even a political element to the film that is not wholly objectionable. At least it doesn’t have the same irritating element to it that I found in the last James Bond film,

Paramount Summer Classic Film Series- Oceans 11 (2001)

A good heist story is always entertaining as long as it is executed effectively. Stephen Soderberg’s Oceans 11 is a big screen remake of a heist film from the 1960s, that had a hip reputation but was not a terrific heist movie. The remake corrects that. A heist movie depends on a clever plot, multiple complications in the execution of the heist, and usually a twist the audience didn’t see coming. This version of Ocean’s 11 has all of those in abundance, and it also has a great cast of characters to round out the story.

It may be true the George Clooney is not the star he once was, because his films have not drawn the box office numbers that they did Once Upon a Time. However he still has charisma, and this 23-year-old film demonstrates that in spades. Along with “Out of Sight” from two years earlier, Clooney was at the apex of charming criminal masterminds at the turn of the century. The plot here, involves a complicated intrusion into the vault that contains the cash flow of three major casinos in Las Vegas. The crew is attempting to steal the money from that vault, which is impenetrable and is protected by a vast security force. How will they do it, and will they get away with it?

The first two acts of the film set up the characters and the situation that they are faced with. We are given as much as possible to sympathize with them. The mark they are after appears to be a brutal, heartless, chiseler who has double crossed one of their team, and is stealing love of the team leader. Clooney, as Danny Ocean, is cool calm and collected as he assembles his crew with the assistance of his friend played by Brad Pitt. The two of them create enough cool in this movie to make it competitive with the Frank Sinatra movie that it’s based on. When you layer on top of it, Don Cheadle, Matt Damon, Elliott Gould, and as the villain, anxious cold-eyed Andy Garcia. You can put your beer in the refrigerator now because this film is cooler than anything you’re going to see this year.

The twists in this movie are fun, and well plotted. Like all movies of this ilk, the plot depends a little bit on certain characters behaving in a way that is anticipated by the other characters, to a T. Other than that old trope, the movie works well in disguising what’s really happening, both to the characters in the film and for us the audience. When we realize how they’re going to get away with it we smile with indulgence because we have been fooled by the cleverness of the master criminal. It’s just too much fun.

The screening was packed with a variety of people, many of whom had not seen the movie before, as you could tell by the way they were reacting to some of the twists. Don Cheadle’s accent, Elliott Gould’s cigar and robe, and Casey Affleck and Scott Caan bickering with each other, all add humorous moments to the film, that aren’t necessarily cool but are clearly a lot of fun. The film combines some really basic physical comedy, with some sophisticated dialogue and plot devices which amuse us in a completely different way.

Matt Damon is sort of the standout in the film, because he’s a young buck on the rise, but he’s still naive enough to fall for some of the bits that the older duo of Pitt and Clooney engage in. He’s capable of playing comedy given the right material, and boy is this the right material. I shouldn’t neglect that one of the characters in the film, is played by Julia Roberts, and although she’s not one of the 11, she is critical in the execution of the heist. When the follow-ups of “Ocean’s 12” and “13” appear, she finally gets counted as a member of the team. I’d be perfectly happy if they counted to 20 in the next few years, so we can enjoy these clever heist movies in greater abundance.

TCM Classic Film Festival Day 3: Out of Sight

out_of_sightIt is not hard for me to see why a lot of attendees at this years TCMFF would be scratching their head over the inclusion of a film that is only seventeen years old. George Clooney and Jennifer Lopez continue to make films and it is a little hard to think of them as “classic” movie actors at this point. They reek of contemporary status. The answer turns out to be pretty simple and it was also the main driving force in my selection of this film for viewing on the last day of the Festival. Anne V. Coates identified it as one of her favorite films that she worked on.

Anne Coates has worked as an editor on films since 1952. That is more than sixty years in the business. That makes her the classic element of the selection. If you still have doubts let me dispel them with one title: “Lawrence of Arabia“. That’s right, she edited the greatest epic film of all time and won the Academy Award for doing so. She has been nominated four other times for her work including the current subject, her collaboration with Steven Soderbergh. This was a very creative process that included some  interesting choices. There are dramatic freeze frame moments that are not based on an action beat but instead serve the character or the emotions of the moment. A dream sequence is flawlessly inserted into the narrative, mixing both the reality of the plot and the fantasy of the romance.

The screenwriter, director and editor all managed to fashion an effective flashback structure that is interesting without becoming too confusing. “Out of Sight” may be best remembered for the performers, especially the sequence with Clooney and Lopez in the trunk of a car, but it will be studied by film students for the creative story telling and the innovative editing choices made by the film makers.

2015-03-29 16.29.36I’d  skipped the screening of “Lawrence” to be able to go to the “Dawn of Technicolor” presentation. I have seen Lawrence on the big screen a number of times in recent years, in fact it is a bit of a mania around our house. The pass that i chose also left me out of the hour long conversation that was scheduled, but her speaking at this screeening would give me an opportunity to hear from one of the greats in the industry and it was worth the extra fee i had to pay for the non-included screening. While Host Ben Mankiewicz seemed to delight in the seeming inconsistency of  Miss Coates editing both “Lawrence of Arabia” and “Fifty Shades of Grey”, she treated all of her own work with some degree of respect. She seemed to recognize that the salacious “Grey” and silly “Masters of the Universe” were just pulp product for mass consumption, there were still choices to be made. She believed that the film of “Fifty Shades” is better than the book ( a claim I think everyone will probably agree with) and she hinted that the movie could have been much more explicit, prompting Ben to say he looks forward to the extended cut on home video.

I’d like to add one delightful side note on the screening if I may. During the previous activity down at the Egyptian Theater, I’d messaged one of the bloggers I was trying to connect with, Citizen Screen (Aurora). Here is a breakdown of our contact.

Aurora 1Aurora 2Aurora 3That’s right, standing in the back of the Standby line for Out of Sight, I looked down on the very long line of people waiting to get in, and there was an enthusiastic woman waving up at me. I waved back and smiled broadly having finally connected in at least one way with my colleague. I was clearly not thinking like a film maker at that moment, because a photo of her wave would have been a nice capstone for this post. Hi Aurora, it was fun seeing you. We should wave at each other again next year.