When his wife, intelligence agent Kathryn St. Jean (Cate Blanchett), is suspected of committing treason, her husband, intelligence agent George Woodhouse is assigned to investigate her. He faces the ultimate test – faithfulness to his marriage or loyalty to his country.

Academy Award-winner Steven Soderbergh is a director who is completely in control of his craft and has mastered every genre throughout his eclectic career. Now he turns his attention to a taut and tightly confined spy thriller, which he constructs with the help of screenwriting genius David Koepp in Black Bag, and this picture dials up your nerves and will have you holding on for dear life with its claustrophobic tension and twisted psychology. Set over the course of a week where trusted and observant intelligence analyst George Woodhouse (Fassbender) learns of a would-be traitor in British intelligence and is given five suspects who include programmers Clarissa Dubose (Marisa Abela) and Freddie Smalls (Tom Burke), psychologist Dr. Zoe Vaughan (Naomie Harris) and field operative Col. James Stokes (Regé-Jean Page), and his wife Kathryn St. Jean (Cate Blanchett).

With limited information and a ticking clock, George gathers his suspects, setting the stage for a game of lies and deception. However, it’s not what you might expect. This isn’t a film filled with flashing explosions or high-paced action sequences. Instead, we are presented with a thought-provoking spy thriller where multiple chess games unfold among the characters, each driven by their own motives and agendas. The story is rich in twists and turns that keep the audience engaged.

As a cinematic experience, Black Bag is a pure spy thriller, but not as you know it, as its slick narrative moves across the interconnected personal lives of its central characters, and the plot is driven by the growing complexities of their interactions and minute by minute you’re kept guessing. Where national security and tradecraft secrets come down to confidentiality, discretion, and secrets, Black Bag completely blurs the line as all of allegiance to King and Country strays when mixed in with complex personal feelings, and it all adds to the nail-biting tension of the plot. Koep’s screenplay is savagely sharp, and Soderberg’s direction pulls on many cues of Hitchcokian misdirection that keeps the audience guessing, and a major plot turn in the middle of the narrative, driven in part by George’s obsessive actions throws the plot on its head and ramps up the tension even further.

Black Bag is an impeccably stylized film as well, with its camera work, set design and costuming all playing a vital role in drawing the audience in with a screen factor that is slick, stylish and sexy. The cast is dressed in some of the best wardrobe we’ve seen in recent years in film. Michael Fassbender looks the part of a refined gentleman spy in his grey suits and black turtlenecks, while Cate Blanchett exudes raw feminine strength and sexuality with her flowing gowns and crisp trenchcoats. Then there’s Pierce Brosnan as station chief Arthur Stieglitz, who, in his double-breasted suits, is the perfect example of British upper-class arrogance. The mood of the piece is also highlighted by Soderbergh’s crisp cinematography, which displays an effortlessly cool frame. Black Bag is imbued with an immense sensuality that enhances its erotic overtones, making it a very sexy watch and adding to Soderbergh’s tension-building techniques.

While Michael Fassbender had taken a recent pause in the last few years to focus on his passion for auto-racing, his return to the big screen has seen some excellent turns, particularly in the likes of David Fincher’s The Killer, and he gives a knockout performance here in Black Bag. Refined, detailed, and intensely private here as cunning intelligence operative George Woodhouse, Fassbender seems to appear to be a character that exists in the grey space between hero and villain, and there’s something edgy, possibly off, and potentially sociopathic about George, which is subtle in its presentation, is still felt by the audience. With an ability to see through others’ lies, he’s also an adept manipulator, and his prying mind sees him utilizing any advantage that he can find, making him utterly dangerous in the most strategic use of the word. Fassbender’s unflinching performance will leave you unhinged, and he’s never been better in a role.

Playing off of Fassbender is Academy Award-winning actress Cate Blanchett as the mysterious, alluring, dynamic intelligence operative Kathryn St. Jean. Like her husband, Kathryn is the best at what she does, but a rogue element leads George to doubt her, and that’s where the ferocity builds in the plot. Blanchett plays Kathryn as distinctly two-faced, both exceedingly loyal to her husband and hiding something from him for an unknown reason. The mystery only grows as the narrative moves forward, and what is not shown adds to the vehemence of the picture. Blanchett and Fassbender’s chemistry together is superb, but not in the way you’d likely think of, and Black Bag’s twisting narrative shapes the complexity of their relationship, and they’re one very memorable couple for sure.

In espionage, black bag operations routinely relate to clandestine entries or surveillance operations, and Soderbergh and Koep lean into these actions in a physical and thematic sense. This chiefly relates to George’s actions, as he has a talent for intrusive behaviour and can seemingly intertwine himself with the secrets his colleagues, who he now suspects of foul play, would rather keep to themselves. The film’s subject matter related to observation and surveillance also leads to an exploration of the ideas related to voyeurism, and even though it is presented subtly, George’s obtrusive actions will leave audiences unsettled, which makes his character that much more intriguing, as he’s willing to go to extremes to complete his mission, which minute by minute becomes that much more personal in its action.

Issues of trust, loyalty, and deceit all play into the thematic underscore of Black Bag, with the key question being about how far one is willing to go to truly ‘trust’ the person they love. This theme is played directly both in George’s relationship with Kathryn, but also with other core characters who are under George’s suspicion, and moment by moment, you have to check where your own doubts are as an audience member, and the result will have you hanging on for dear life.

Black Bag is a flawlessly crafted spy thriller with its’ chessboard narrative of twists and deceptions, and it makes for one of the most stylish, cool, and intensely taut cinematic experiences of the year.

Imager: Universal Pictures

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The X-Men face their most formidable and powerful foe: one of their own, Jean Grey (Sophie Turner). During a rescue mission in space, Jean is nearly killed when she is hit by a mysterious cosmic force. Once she returns home, this force not only makes her infinitely more powerful but far more unstable. Wrestling with this entity inside her, Jean unleashes her powers in ways she can neither comprehend nor contain. With Jean spiralling out of control and hurting the ones she loves most, she begins to unravel the very fabric that holds the X-Men together. Now, with this family falling apart, they must find a way to unite — not only to save Jean’s soul but to save our very planet from aliens who wish to weaponize this force and rule the galaxy.

Long-time X-Men champion Simon Kinberg steps up to take the directing chair here for Dark Phoenix, and he crafts an interesting tale of family tension and unmatched power. In this latest chapter of the X-Men franchise, following the events of X-Men: Apocalypse, mutants are now free to live side-by-side with humanity and the X-Men are celebrated as international celebrity heroes. But when a new extra-terrestrial danger arrives on earth the very heart of this team is threatened and it’s here where things get interesting. With his film, Kinberg crafts a unique trinity dynamic between Charles Xavier, Jean Grey and Erik Lehnsherr and watching the dynamics of two different causes play out here results in plenty of action.

Once again James McAvoy commands particular attention as Professor Charles Xavier, a champion for mutant rights and acceptance who through hard work and time has made the world a brighter place for his kind, albeit inflating his ego in the process. His story here is one of hubris, as a past secret comes back to haunt him and threatens everything he has built. It’s fascinating to watch McAvoy’s turmoil as Charles has to battle the inner demons of his student Jean Grey, whom he has come to see as a surrogate daughter and their relationship and battles between one another highlight this thematic battle between adolescence and adulthood that the X-Men franchise has always examined. I liked how tested McAvoy was in the role and we really got to see Xavier’s flaws open up as he once again had to put away his own sense of self and return to the moral centre of this world that he has always been. And it resulted in plenty of great drama.

Taking centre stage in Dark Phoenix is Jean Grey herself and rising star Sophie Turner has plenty of material to work with here. After a freak accident leaves her imbued with a god-like alien power we see a terrifying power play burst out of her character, and this gives Turner plenty of room to stretch. Watching her as Jean, and the fluctuating boundaries of this new character I read into it an examination of an almost bi-polar individual who fluctuates violently between herself and this savage new force inside of her. As the Dark Phoenix, Jean is an unstoppable force and you buy into Turner’s dominance of the screen through the power that she wields. But next to this is the hurt and anguish that she finds herself in after she snaps back to herself and this drama is a real test for the character. Dark Phoenix was a big step up for Turner and she really proves herself here as she absolutely commands the centre of the audience and its attention.

Finally completing this trinity is Michael Fassbender who returns as the dark and charismatic Erik Lehnsherr. And Magneto himself has undergone considerable change here. Brushing aside his past anger and violence he now appears to have found some sort of peace with an assortment of followers on the island of Genosha, creating a self-contained homeland for them. But the arrival of Jean Grey and her actions bring out the beast in him and soon he is donning the helmet of Magneto once more. Fassbender has always been the straight-up cool factor of this franchise and again he does not disappoint with his performance here. His appearance also brings the narrative back to the brotherhood themes that were first explored between himself and McAvoy back in X-Men: First Class, and it’s great to see this relationship once again come full circle.

Fans who are wanting action will be in for a treat with X-Men: Dark Phoenix as Kinberg layers it on heavy. Jean’s powers turn her into a literal living weapon and the film’s third act is one massive action showcase that really throws you back into your seat. Another thing that I really enjoyed about X-Men: Dark Phoenix was the science fiction leanings that the film went in, and this again set it apart from the other comic book movies in the genre.

X-Men: Dark Phoenix is a fun ride for fans of the franchise and brings about a close to the series with a spot-on sense of nostalgia. See it now.

Image: 20th Century Fox

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Here’s the synopsis:

Gyspy outlaw Chad Cutler (Fassbender) makes his living as a wheelman who commits daring robberies to provide for his family and their traveller community. But when the law begins to fall down upon him he decides to leave his criminal past behind for the good of his family. But this decision brings him into contact with his own criminal father Colby (Brendan Gleeson).

Fassbender appears to be at his rawest as the deeply flawed Chad, who walks a very dangerous tight rope as both criminal and father. While flawed criminals are nothing new, what makes Trespass Against Us so compelling is the emphasis that director Adam Smith has placed on the family drama, and the heartbreak and anguish that comes from Chad’s choices.

Smith also strikes a unique balance with both sides of Chad’s character: ace wheelman who seems to be able to out drive anything, and that of a loving family man who is just trying to build a better life for his loved ones.

Trespass Against Us will be released on January 20.

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The epic action adventure of Assassin’s Creed makes its way from the video game console to the big screen thanks to the dedication of director Justin Kurzel. While many video game adaptations fail to make an impact, Assassin’s Creed works thanks to Kurzel and his team treating it directly as a feature film. While they do pay respect to the game’s elements, the decision to focus solely on an original story allows for audiences to become invested in this narrative and not be driven by their memories or experiences from playing the game.

Of all the videogames that I’m familiar with, Assassin’s Creed, in my opinion, also has a story that aligns perfectly with the cinematic medium thanks to its dual narratives of science fiction and historical action. Kurzel and Fassbender handle each side of this perfectly with Fassbender’s dual performance as convicted criminal Callum Lynch, and his ancient Assassin ancestor Aguilar de Nerha. Fassbender’s performance is unique with Aguilar being noble and steadfast, while Lynch is far crazier and unpredictable with a good dose of outlaw cool.

Kurzel also gets some great performances from Fassbender’s co-stars Marion Cotillard and Jeremy Irons. Cotillard has never been more cold and calculating as ambitious scientist Dr. Sophia Rikken, who has some grand plans for Lynch and his genetics thanks to her use of The Animus, a potent virtual reality machine that allows Lynch the ability to tap into his ancestor’s past life as an assassin. Irons, on the other hand, brings a sinister grace to the role of Sophia’s authoritarian and sinister father Dr. Allen Rikken, who is himself a loyal Templar, the immortal enemies of the Assassins, and will do whatever is necessary to get Lynch to accept his destiny.

Being that this is Assassin’s Creed, you can also expect some mind-blowing action scenes, and my favourite had to be the high speed and death-defying parkour chase where Aguilar and his accomplice Maria (Ariane Labed), outrun the Templars in medieval Madrid. Fassbender holds nothing back and is in full action star mode here. Not only is he seriously shredded, but this man can wield a sword with deadly accuracy, and is particularly talented with the Assassin’s trademark gauntlet blades.

If you’re seeking an adrenaline rush to welcome in the New Year then Assassin’s Creed is definitely the movie for you. Not only will you be on the receiving end of some absolutely wicked action set pieces, but the film’s engaging story of time travel, self-realisation and destiny will keep you guessing right up until the very end.

Image: 20th Century Fox. 

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The real life dream-couple of Fassbender and Vikander completely give themselves over to their love swept characters, Thomas Sherbourne and Isabel Graysmark, who meet following the end of WWI and marry. While initially happy, a series of tragedies rob the pair of hope, until an unexpected miracle in the form of a baby lost at sea arrives. Naming the child Lucy, they decide to raise her as their own, a decision which bring infinite joys. But this happiness is the result of a grand secret, and it soon begins to tear a hole in the loving family that they have formed.

As always, Fassbender never falters in his performance. There is a consistent melancholy and sadness in his performance as Tom, with the feeling that he’ll never let go of his past. Working alongside Fassbender is Alicia Vikander, and while she may have won an Academy Award for The Danish Girl, I would argue that her performance in The Light Between Oceans is her most sincere and raw offering yet.

Providing support to these two phenomenal performers is Rachel Weisz in the role of Hannah Roennfeldt, Lucy’s real mother, who delicately walks the line between villainous and traumatised mother. Finally, Australian cinematic legend Bryan Brown provides a sense of sage wisdom that leads to the redemption of all three characters as Septimus Potts, father to Hannah, and grandfather to Lucy.

Aside from its incredible cast, The Light Between Oceans is carried by both a moving soundtrack from composer Alexandre Desplat, and the striking cinematography of Adam Arkapaw, whose beautiful, rough imagery is like an oil painting come to life.

The Light Between Oceans is a wonderful watch that will surely draw tears from your eyes before the credits begin to roll. Bring tissues.

Image source: EOne.

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When Tom (Fassbender) and Isabel Sherborne (Vikander), who run a lighthouse on a remote Australian island following WWI discover a lost boat washed ashore, their lives are changed forever. Discovering an orphaned baby they adopt the child, and raise her as their own, but Tom and Isabel’s perfect life becomes threatened when they meet a grieving mother (Rachel Weisz), who just might be the mother of their adopted daughter.

The new trailer is a raw dramatic experience that is equal parts romance and tragedy, and showcases director Derek Cianfrance’s (Blue Valentine, The Place Beyond The Pines) perfect attention to detail. Cianfrance has balanced the hypnotic power of his co-leads with beautifully moving cinematography, and those familiar with his work, particularly 2012’s The Place Beyond The Pines, will see Cainfrance’s favourite subject matter at work again, particularly in relation to family relationships, and the secrets that grow from them.

The Light Between Oceans is one cinematic experience not to be missed, and audiences should mark their calendars for September 2 in the US and on November 3 in New Zealand and Australia.

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