Two Steven Soderbergh movies on the big screen in less than two months – we cinema lovers are eating good. And while it’s true that I didn’t fully go for his January release, “Presence”, Soderbergh always has something compelling to offer. And when he hits his mark the results can be pretty magical. Such is the case with “Black Bag”, a tight and taut spy thriller that has the flavor of an old school genre film yet a freshness all its own.

“Black Bag” could sell itself on its two brilliant leads alone – Cate Blanchett and Michael Fassbender. Both are supremely talented and endlessly versatile while oozing charisma out of every pore. But then you add in Soderbergh whose signature style and precision energizes every facet of the storytelling, from his deft handling of the narrative to his striking visual approach. It all clicks into place with “Black Bag”.

Written for the screen by David Koepp, “Black Bag” follows Kathryn St. Jean (Blanchett) and George Woodhouse (Fassbender), a happily married and deeply devoted couple who both happen to be high-level intelligence agents. Soderbergh wastes no time getting the story underway, sucking us in with a killer opening tracking shot of George entering a night club to meet with a contact. We learn there is a traitor in their agency and George is given a list of five potential suspects, one of which is Kathryn.

From there the movie follows George’s investigation of the five suspects with most of his attention aimed at Kathryn, especially as clues implicating her begin to mount. As the mystery unfolds, two key questions emerge. Is Kathryn guilty of treason and where do George’s loyalties ultimately lie – to his marriage or to his country? Soderbergh and Koepp have us studying the screen, hanging on every word and measuring every reaction in hopes of finding answers.

One of the biggest treats in “Black Bag” is its heavy reliance on character over action. And it all starts with George and Kathryn. He is intensely focused, detail obsessed, and has a very specific disdain for lying. She is disarmingly suave, both captivating and beguiling, and impossible to read, even for an agent as seasoned as her husband. To no surprise Fassbender and Blanchett have an electric chemistry and Soderbergh smartly utilizes it to the nth degree.

The four other suspects within the agency all get their due as well. They’re introduced to us during a superbly executed dinner party scene at George and Kathryn’s home. James Stokes (Regé-Jean Page), Zoe Vaughan (Naomie Harris), Clarissa Dubose (Marisa Abela), and Freddie Smalls (Tom Burke) all think they have been invited over for a casual get-together. Instead they’re unknowingly a part of George’s investigation which turns the evening into something completely unexpected.

From there, all of the characters impact the story in interesting ways. Koepp’s sizzling dialogue and Soderbergh’s crisp pacing keep things gripping for the duration of the film’s compact 94 minutes. And while once again serving as his own cinematographer, Soderbergh surrounds this tightly plotted thriller with the kind of visual craftsmanship that has become a hallmark of his movies. Toss in the delectable Fassbender and Blanchett, and you have one of the best films of this young movie year.

VERDICT – 4.5 STARS