[NoHo Arts District, CA] – Here are this month’s movie and TV reviews of Black Bag and Bridget Jones: Mad About the Boy.
Black Bag, directed by Steven Soderbergh with a script by David Koepp, is the kind of film that I feared had gone out of style: a literate, compact, entertaining thriller that doesn’t overstay its welcome, where the direction, dialogue, performances, and plot twists are rewarding throughout. It begins with a respected member of British Intelligence (Michael Fassbender) who is ordered to look into the dangerous software leak of Severus, which in the wrong hands—well, you know…The problem for Fassbender is that all five suspects are intimates or colleagues—including his own wife, a fellow officer (Cate Blanchett), a satellite imagery specialist (Marissa Abella), her boyfriend (Tom Burke), a psychiatrist for Intelligence (Naomie Harris), and her boyfriend (Rege-Jean Page). And so the name of the game is “find the traitor,” first by subjecting them to a dinner party laced with inhibition-lowering drugs, where all kinds of indiscretions are revealed, and which serves as a starting point for the fun to come.
Much of that fun is in determining the nature of Fassbender and Blanchett’s relationship. They seem to be devoted, but they each have their little secrets from each other. The question for them (and for the audience) is if their love for each other will outweigh the misdirects and allegations that come their way during what turns out will be a tense week of investigations. In addition, the other suspects are mired in messes of their own making, including infidelity, deception, and questionable ethical behavior. Fassbender and Blanchett are both very effective, balancing the characters’ controlled sense of professionalism with an understated (but clearly apparent) affection. The other suspects are also good, especially Marissa Abela’s conflicted imagery expert and Naomie Harris’ psychiatrist with some moral and ethical conflicts of her own. The twists are solid, there are a few genuinely suspenseful sequences, and a satisfying wrap-up. It makes for a good reason to go to the movies.
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Bridget Jones: Mad About the Boy alas, didn’t make it to American movie theaters, though it is enjoying much success overseas. I wish it would have had a domestic theatrical release since it also represents another kind of film that has gone out of style: the witty, wise, and warm romantic comedy. Renee Zelweger’s Bridget is back and as bumbling and endearing as ever, only now she is sidling into middle age alone (as husband Colin Firth has died heroically before the film begins—though he makes a few strategic appearances). In this installment (superior to the previous one), Bridget is coping with motherhood, re-joining society (having been reclusive since her husband’s death), and re-entering the dating scene. To that end, there is the young but sensitive hunk Roxster (Leo Woodall) and (possibly) the teacher at her daughter’s school (Chiwitel Ejiofor)—but he seems barely interested. Emma Thompson is also on hand as Bridget’s doctor, as well as Hugh Grant, stealing every scene as Bridget’s older and wiser former adversary turned good friend and confidant.
Directed by Michael Morris with a script from, among others, Bridget’s creator Helen Fielding, the film does take its time (it could have been a little shorter than its two-hour length). However, the dialogue is good, the characters appealing, and there is a fairly satisfying resolution that may not surprise but is certainly welcome. The movie is streaming on Peacock and is worth the visit.