Black Bag

Director: Steven Soderbergh
Starring: Michael Fassbender, Cate Blanchett, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, Kae Alexander, Ambika Mod, Gustaf Skarsgård, Pierce Brosnan
Running Time: 94 min.
Rating: R

★★★ (out of ★★★★)     

In Steven Soderbergh's sleek, stylish espionage thriller Black Bag, a group of suspects find themselves roped into a cerebral chess game by a calculating couple. It's like Clue for intellectuals, respecting the audience's intelligence while succeeding off the strength of its performances and a tightly wound script. Though occasionally difficult to follow on a single viewing, the puzzle pieces gradually fall into place as two of our most captivating actors keep us glued to the screen throughout. 

Only when the film settles in your mind do you realize it's more about trust between partners and the difficulties of making a relationship work. And even in such an inherently duplicitous job, the two leads have this figured out in a way few couples do. They may not trust their spouse indiscriminately, but they've reached an understanding to have each other's backs at any cost, giving them an edge in a profession where that seems unattainable. 

When British intelligence agent George Woodhouse (Michael Fassbender) is given a week by his superior Meacham (Gustaf Skarsgård) to investigate the mysterious leak of a top-secret software program known as "Severus," he's informed that one of the five suspects is his wife and fellow SIS operative, Kathryn (Cate Blanchett). But when Meacham's poisoned, George invites the four other suspects to dinner, lowering their inhibitions and playing a game meant to uncover the traitor's identity. 

These suspects include the organization's satellite imagery specialist Clarissa (Marisa Abela), her boyfriend and managing agent Freddie (Tom Burke), another managing agent James (Regé-Jean Page) and his girlfriend Zoe (Naomie Harris), the agency's psychiatrist. But while the couples' dirty laundry is aired, George discovers additional clues that could point to Kathryn as the possible mole. Treading carefully, he digs deeper, while still suspecting the others are hiding something. Inching closer to the truth, he'll have to decide how much to tell Kathryn and weigh whether it's worth jeopardizing his career to protect her.  

The best scenes involve George cooly and calmly gaining the upper hand, whether it's at the dinner table or during an impromptu polygraph test intended to unearth the liar among them. The latter sequence is masterfully edited and scored with a pitter patter rhythm that builds tension as his interrogation escalates from simplistically irrelevant to incriminating. Each of the suspects are smart but have secrets they're hiding from each other and George, which may or may not be directly tied to the Severus program. Either way, these personal and professional relationships become a tangled web George must unravel to find the leak. 

Part James Bond, part George Smiley, a fastidious, subtly menacing Fassbender is decked out in horn-rimmed glasses and a turtleneck to play this seemingly low key man who makes his few words count. Knowing more than he's letting on, he puts viewers in the same boat as these highly capable suspects, any of whom could be behind this. But as shifty as the other couples are, George and Kathryn operate on another level, even when they're on different pages as his suspicions of her grow. In tackling this sophisticated ice queen to perfection, Blanchett expertly keeps us guessing, with both actors leaving little doubt their characters would kill to protect their partner. There's also a great undercurrent showing how George and Kathryn constantly watch each other since they're incapable of shutting that mechanism off. 

The supporting cast is uniformly excellent, especially Abela, who follows her breakout role as Amy Winehouse in Back to Black with another impressive turn as the tough but vulnerable junior agent Clarissa. Going toe-toe with Fassbender, she's the film's scene stealer, bringing different shades to a character who has everything to prove and lose. Regé-Jean Page and Tom Burke are effectively shady, as are Bond vets Naomie Harris and Pierce Brosnan (as the gruff SIS boss), with Harris really shining in her witty exchanges opposite Page. Accompanied by a thorough, extremely detailed explanation, the ending isn't just smart, but makes sense, even if you'll need to run it back in your head a few times.   

Staying a step ahead and knowing more than we do, Black Bag's mostly actionless plot relies on dialogue, sneaky looks, great cinematography and locations to get its points across. And since David Koepp's script can be challenging to decode, viewers are asked to read between the lines, which would usually invite a rewatch, if not for its whole plot serving as a thematic smokescreen for larger, more intriguing themes about fidelity. Well made and thought provoking, it's consistent with the rest of Soderbergh's prolific output, representing the kind of perceptive adult spy drama we could stand to see more of.                                                    

Side Effects

Director: Steven Soderbergh
Starring: Rooney Mara, Channing Tatum, Jude Law, Catherine Zeta-Jones, Ann Dowd, Polly Draper, David Costabile, Mamie Gummer
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★)
 
The character Rooney Mara plays in Side Effects is so interesting and complex it's easy to imagine a wide variety of films across different genres that her protagonist could have been the centerpiece of. It just so happens that the one Steven Soderbergh decided to make is a 90's-style psychological thriller. And who would have guessed? He's really good at it. Of course, it's not that much of a surprise. He's good at most things, often impossible to pigeonhole into any specific genre. I had originally intended to label this, his supposed send-off as a feature director, as "smart" or "clever" until further reflection convinced me the story itself is kind of prepostruous. Almost spectacularly so, with twists and turns so far-fetched and convoluted they would never hold up in any cinematic court of law, much less a real one. And yet, Soderbergh brings an artistry to the material that makes it seem incredibly intelligent. It's all in the "how" and by the end I was almost howling with laughter at the events that went down, which, for a change, is actually meant as a sincere compliment.

Mara is Emily Taylor, whose husband Martin (Channing Tatum) has just recently been released from prison after serving a four year sentence for insider trading. His return and Emily's struggles to adjust to a less opulent lifestyle causes her depression to resurface when she drives her car head-on into a parking garage wall in an apparent suicide attempt. Psychiatrist Dr. Jonathan Banks (Jude Law) is put in charge of her care, prescribing her a variety of anti-depressants while consulting with her former therapist Victoria Siebert (Catherine Zeta-Jones) regarding her history and the best approach to treatment. Seemingly an emotional wreck on meds or off, Emily tries a new experimental drug called Ablixa, which allows her to function normally, aside from one dangerous side effect. This causes another incident where the intended victim this time the isn't herself, causing a controversial ethical and legal dilemma. Then twists and turns come at full force.

Initially the film moves at a deliberate, methodical pace that  practically mirrors the mood of the depressed, withdrawn Emily. Until it doesn't. For a while the movie itself also seems to be on meds as the first hour plays as almost a dream, giving us as good a glimpse as any into what it must be like to be utterly and hopeless to the point of being barely functional. While depression is usually defined as the inability to construct a future, for a while we wonder if this girl's even able to construct a present. She also seems gifted with the most understanding mother-in-law (Ann Dowd) and boss (Polly Draper) on the planet. Then the big event happens and I'll be careful not reveal too much other than a crime is committed that has huge ramifications for every character and calls into question just how responsible a doctor should be held over their patient's actions, as well as how responsible an actual patient is for their own behavior while under the heavy influence of prescription medication. As quickly as screenwriter Scott Z. Burns brings up these issues, he ditches them in favor of going a route that's a bit sillier, but still expertly crafted. And the transition getting there is seamless. The twists and turns aren't exactly shocking when you think back on them and a great deal of what happens stretches credibility even for a legal potboiler, but everything is just too well executed and performed for the viewer not to be totally sucked in.

When it becomes apparent where everything's going, you start to realize how tricky the scenes are to perform and that none of it would have succeeded without Mara's sad, almost other worldly performance that evolves into something else entirely in the film's second half. Some actresses just have that"it" factor. An indescribable presence that can't be described in any way other than an inability for audiences to take their eyes off them whenever they're on screen. She's got it and is able to convey so much with just her face that dialogue hardly even seems necessary during the opening hour. Only when the final credits roll do you realize just how much she had to do without looking like she was doing anything at all and how the original casting choice of Blake Lively (who dropped out before filming) probably wouldn't have fit what Soderbergh was going for because of her accessibility and openness as a movie star type. Mara is much harder to read and far less accessible as an actress, which only serves to help make her more captivating than ever here.

For Law and Zeta-Jones this represents their highest profile roles in some time, with the former basically owning the movie's second half as lead when the focus shifts to Dr. Banks, while Jones chews up and relishes what might be the most  over-the-top, certifiably insane part the usually buttoned-up actress has had yet. Tatum has by far the smallest and briefest role, but following last year's discovery that he's actually a good actor, the floodgates have opened in terms of the types of roles he can play. Despite limited screen time, he's believable in this one.

While the debate's already underway as to Soderbergh's best film (Contagion gets my vote), there's little doubt this is easily his most fun. He has a very distinctive visual style that really seems to have come into its own in his last few releases and there's mistaking that this very much bares his mark, with a script that matches his cool, clinical aesthetic perhaps more than any of his previous efforts. The direction definitely outweighs the script, as it's easy to imagine a low-rent version of this that would go straight to video on demand or play on cable late at night if it were put in the hands of a less accomplished filmmaker.  It takes real skill to take material that treads similar territory as cheesy thrillers like Jade or Wild Things and turn it into high art but he pulls it off with style to spare. And without Mara in the lead I'm not sure any of it would have been possible, as she conclusively puts to bed any doubts she's the real deal. If Side Effects really is Soderbergh's last feature before retiring (which I don't buy for a second by the way), it'll be hard for anyone to say it wasn't a fun way to go out.

Magic Mike

Director: Steven Soderbergh
Starring: Channing Tatum, Alex Pettyfer, Matthew McConaughey, Cody Horn, Olivia Munn, Matt Bomer, Joe Manganiello, Kevin Nash, Adam Rodriguez, Gabriel Iglesias, Riley Keough, Betsy Brandt
Running Time: 110 min.
Rating: R

★★★ (out of ★★★★)

Going by only commercials and advertisements, you couldn't be blamed for thinking Magic Mike is  entirely about male stripping. But I get it. There's a movie to sell and the smartest way to fill theater seats was to cater to the women and gay men interested in seeing Channing Tatum star in "Chippendales: The Movie." After watching its trailer, that audience definitely wouldn't be wrong in expecting two hours of non-stop stripping and maybe some laughs. So, you have to wonder how they reacted when one of the very first scenes featured topless female nudity. Or that there are only really three of four big stripping sequences. And that the picture above is a far better representation of what the film is than all those billboards of shirtless guys in ties and suspenders. It's kind of a miracle the movie did as well as it did at the box office considering how much it managed to misrepresent itself. But it's good news for people who like smart movies. But anyone familiar with Steven Soderbergh as a filmmaker knew we wouldn't be getting anything too commercial or fluffy. And we don't. Yet, the movie is still fun in its own cool, laid back kind of way.

Mike Lane (Tatum) is a 30 year-old budding Tampa entrepreneur who dreams of one day owning his own  custom furniture business, but works odd jobs in construction during the day to make ends meet. When 19-year-old Adam (Alex Pettyfer) quits his first day on the site, Mike takes him under his wing and introduces him to his night gig as a professional dancer at the Xquisite Strip Club, which is owned by a washed-up, forty-something stripper named Dallas (Matthew McConaughey). He has ambitions of someday building an empire, but his biggest star is "Magic Mike". Hired initially as the prop guy, Adam is thrown on stage and initiated into the world of male dancing with Mike promising his disapproving sister Brooke (Cody Horn) that he'll look after him. He's also clearly interested in her, but seems tied up in very casual  relationship with vapid grad student Joanna (Olivia Munn). Despite being a quick learner, Adam's inexperience and recklessness prove to be a problem off stage, as he plunges headfirst into the hedonistic lifestyle accompanying the job. Just as Dallas' greed and ego start growing out of control, so does Mike's desires to possibly start exploring other options in life.        

Making the character of Adam an entry point into this male stripping world was the smartest decision Soderbergh could have made to appeal to more skeptical viewers uninterested in seeing a "stripper movie," which this isn't anyway. For the first half of of the movie he's our protagonist, seeming as put-off and uncomfortable with the whole idea of real guys actually doing this to earn money as we are. But the funniest aspect of this just might be how Mike tricks Adam into thinking they'll be spending the night hitting clubs and picking up women. In a way, this is true. He just leaves out the part about him being a male stripper, perhaps knowing the inevitable reaction. Audiences don't have that luxury and you kind of wish they did because the biggest surprise of the film is how the profession is shown to have a backstage grind that's comparable to any other occupation.Which isn't to say it's boring or they're pushing papers, but we see the work and it's definitely a job. At first, it would appear to take more time in the gym than the dance floor to be able to do this but there's definitely a stark contrast between some of the goofy, hilariously choreographed routines they do as a group and when "Magic Mike" takes the stage solo.

The screenplay is based on Tatum's own brief run as a stripper before he got into acting so it would make sense he'd know what he's doing out there. Even with that information, it'll still surprising just how good a dancer he is, notwithstanding the actual stripping, which almost seems like an afterthought. And it results in one of the best sequences, as Adam's overprotective, uptight sister Brooke begrudgingly watches Mike's show-stopping routine with the same perpetual scowl she has plastered on her face throughout three quarters of the picture's running time. And it's such a great scowl because you always see this hint of a tiny smile cracking through that we know we can look forward to finally seeing by the end of the film. She hates that her brother has is resorting to doing this for cash, but can't conceal her guilt that Mike's slowly growing on her. Tatum will never be accused of being an actor of incredible range (at least yet), but within that range he can be excel, as he proved earlier in the year with 21 Jump Street and Haywire. His low, one-key performance here is as strong as those, if not stronger because he has to carry much of the film's load as its title character.  He also has real sparks with newcomer Cody Horn, who simply possesses this grounded, natural likability on screen that does actually make you want to root for the potential couple to succeed and for Adam (whom Pettyfer plays with endearing cluelessness)  to stay out of trouble. Any guy reluctant to see this would have problems finding a better excuse than her.

When the initially shy and unassuming Adam starts falling in with the wrong crowd and is swallowep by the limelight, the film travels in a more familiar, but no less effective, route, as Mike struggles to keep his promise to look out for the kid. Hovering on the sidelines, but hanging over the movie like a dark cloud, is Matthew McConaughey's performance as Dallas. We really don't know anything about the guy and even the one scene in which he's discussed doesn't reveal much history, but it hardly matters. We sense everything there is to know the second McConaughey appears in the opening scene as the M.C. and in each appearance following it. This is a man consumed with the spotlight living all his dreams vicariously through his younger charges, whom he basically treats as cattle. Driven by greed and greener pastures in Miami, he'll have to be dragged offstage kicking and screaming before he's pathetically milked every last second of his 15 remaining minutes of notoriety. There's something hauntingly pathetic about it, and that trademark charisma and likability McConaughey brings to even the unworthiest projects is finally given its proper outlet, but with a sharper, darker edge that really plays to all his strengths (even incorporating his infamous bongo drumming skills).  Basically Mike is the future Dallas, unless he escapes out right now. The rest of the talent (played by Joe Manganiello, Matt Bomer, Adam Rodriguez and former WWE star Kevin Nash) don't figure in too much, but still have some funny individual character moments that give us a glimpses into their personalities and  the locker room atmosphere backstage. Olivia Munn has just a few scenes as Joanna, but in them she successfully manages to make  her pretentious character as unlikable and irritating as can be. And, yes, that's a compliment.

Magic Mike isn't a chick flick in the slightest. In fact, I'm more than willing to bet most women who see it expecting a comedic flesh fest will probably find it boring since the tone and content is so far removed from from what it was advertised as. It's actually about something, with the stripping world merely providing the fascinating backdrop for a story about a guy reaching a crossroads and needing to change. Even the way it's lensed, in that typical hazy, washed-out Soderbergh style he's perfected of late, suggests we're watching a documentary or being invited to just hang out and eavesdrop on these characters' lives. Some will find more fun in that approach than others, lending a bit of irony to the fact that the audience of serious moviegoers most likely to appreciate this are the ones least likely to give it a chance because of the subject matter or how they'll be perceived having seen it.The profession may be stripping, but that it could have been replaced with any other job and still been an interesting film speaks to the fact that the screenplay is, first and foremost, about these characters and their relationships, even while doubling as kind of a modern social commentary. I was hoping it would play like this. More truthfully, I was hoping it would play as anything other than what it was promoted as. Luckily, it does. And it's still a good time.                

The Informant!

Director: Steven Soderbergh
Starring: Matt Damon, Scott Bakula, Joel McHale, Melanie Lynskey, Thomas F. Wilson
Running Time: 119 min.
Rating: R

★★★ 1/2 (out of ★★★★)

Years ago I remember watching an episode of The Simpsons where Homer was wearing a t-shirt and hat that read: "WITNESS PROTECTION PROGRAM." If that one joke were stretched to two hours the result would probably resemble Steven Soderbergh's The Informant! And I'm not just saying that because the film's star, Matt Damon, looks like a cross between Ned Flanders and Philip Seymour Hoffman. Like Homer in that episode, he plays a character so endearingly clueless that it's hilarious. The movie won me over right away when it flashed one of those disclaimers letting us know the following story would be based on true events, then added..."SO THERE."

You wouldn't figure a non-fiction story about a corporate whistle blower in a lysine price-fixing scandal would make for the ripest of satires, nor is it a topic I was interested in seeing explored, but I still couldn't stop laughing. Soderbergh wisely makes it about everything but the story and his approach turns it one of the more bizarrely entertaining films of the year, not to mention a real surprise. It's hard to describe just how strange the choices he makes are and it's likely something this far outside the box will only appeal to a niche audience and turn off more viewers than it connects with. But who cares? It's funny.

Most of the film's success lies in Damon's performance, where he takes his biggest stretch yet as an actor. Then there's the unforgettably quirky musical score that's so integral to the film it may as well share top billing alongside him as a co-star. That is if Soderbergh hadn't already brilliantly cast actors as diverse as Quantum Leap's Scott Bakula, Back to the Future's Thomas F. Wilson, Arrested Development's Tony Hale and The Soup's Joel McHale. Just the presence of these talents together onscreen would be enough to make this a must-see for me, but it's an added bonus that they're all also terrific in their roles. While I always considered him one of the more eclectic filmmakers, I never counted myself as much of a Soderbergh supporter, but maybe it's time to start reassessing that.

It's the early 199o's and Mark Whitacre (Damon) is an executive on the fact track to success at the Decatur, Illinois based company Archer Daniels Midland (ADM) until he seems to suddenly get an attack of conscience and bring his knowledge of their price fixing scheme to the F.B.I. Called on to the case are Special Agents Shephard (Bakula) and Herndon (McHale) who rig him with a wire to obtain tapes for use as evidence. One problem: Mark is a very dumb man. Really dumb. Or so it appears at first, but as the plot thickens we realize he may not be because no one could possibly make decisions this stupid without having some legitimate mental disorder.

The biggest question concerns not the illegal activities of ADM but the motives behind Mark's behavior, and how it could possibly benefit him in any way to take down this company. The F.B.I. agents are understandably confused and skeptical, especially when he's telling everyone he knows that he's an informant and proudly providing narrative commentary on the action to the agents while he's wired. You start to wonder what his angle is. Is it money? Or is he really that much of a dope that he actually thinks he'll be considered a hero for doing this? His voice-over that unreliably narrates much of the film is borderline insane...and hysterical. His "thoughts" have nothing to do with anything related to the plot and consists largely of pointless ruminations on life and goofy observations that confirm he's not playing with a full deck.

From the moment the paunchy, big-haired, mustachioed Damon first appears on screen you just know it's going to be a memorable performance and a huge departure from anything he's previously done. He's almost physically unrecognizable to the point that you really have to remind yourself it's Matt Damon and it's obvious in just his walk and facial expressions that he's physically and emotionally immersed himself to the max in the role. This guy's behavior is so off-the-wall that the portrayal seems destined to devolve into caricature or parody but he finds a way to walk that very thin line the entire time without stepping over. That's important when we start to realize Mark may not actually be as dumb as we think he is and his mental health could be a more serious issue than expected. Yet the film remains consistently humorous through all of this because of Damon's commitment to the part.

If anything, this makes me want to go back and look at some of his more muted work in films like Good Will Hunting, The Talented Mr. Ripley, The Bourne trilogy and The Good Shepherd and figure out how the same actor could have played this exaggerated, larger-than-life character. I was never really a fan. always considereding him more a movie star than an actor, but this shut me up quickly. He has this one scene when he's on the phone with the F.B.I. and has to adjust his pathological lying on the fly because his boss is in the room. How Damon handles it has to be seen to be believed. He was nominated for an Academy Award this year for his supporting role in Invictus and even having not seen it yet still feel comfortable enough saying it's unlikely his work there could even come close to competing with what he does in this.

The second most important role is Scott Bakula's as Special Agent Shephard, who plays straight man to Mark Whitacre's increasingly zany behavior throughout the story with just the right amount of incredulity. He's our eyes and ears, reacting just as we might. As a longtime Quantum Leap fan, it was great to see Bakula again in such a major role and hopefully this opens the door to more parts for him because his comeback in this will go down as one of the highlights of the movie year for me. It may even be more of a highlight than trying to guess whether he was wearing a wig or that was actually his hair. Joel McHale receives less screen time as his partner but is just as effective. And what even needs to be said about the decision to cast Biff (Wilson) from Back To The Future as Mark's boss?

It's easy to imagine this story being told as a boring biographical drama but Soderbergh has more interesting, quirky ideas for the material. A 1970's TV style title font appears sporadically on screen letting us know the year and month events are taking place and even though it's supposed to be the early to mid 90's, everything from the sets to the costumes suggest the action's taking place in the 70's. It's a weird, but inspired decision that puts the viewer as off balance as the film's delusional protagonist. But none of this would have the effect it does without the insanely catchy retro musical score by Marvin Hamlisch, who I was surprised to recently discover was still living. That's not intended as a joke...this composer's really been around in the business for a long time. Somehow his main title theme was passed over at Oscar time in favor of Michael Giacchino's overrated work on Up. Hamlisch's score is the all too rare example of a main title theme that does call attention to itself, but in a practical way, enhancing every portion of the film where it pops up and perfectly matching the story's tone. After an initial listen it's impossible to get it out of your head.

Amazingly, this is based on a true story that provided the foundation for the 2000 book by Kurt Eichenwald. That book was a non-fiction thriller and if it were adapted as such, minus the liberties taken by Scott Z. Burns' satirical script and Soderbergh's ingenious approach, this could have easily turned into one of those dry, run-of-the-mill John Grisham thrillers Hollywood spits out every couple of years. But both had the foresight to see the satirical elements in the story that could come out and allows us to laugh at and with the main character, even as we pity him. With some filmmakers like Tim Burton simply phoning in the same movie over and over again, it's a relief we have someone like Soderbergh who challenges himself and us by doing something completely different each time out. With The Informant! he manages to turn what could have been a dry, fact-based corporate corruption tale into an endlessly inventive, loony farce that earns the exclamation point in its title.