 Stefani Kimber in The Players (2025) Sarah Galea-Davis’s feature directorial debut The Players tells a universal story of power dynamics and gender roles through an avant-garde lens. Set in Ontario in the summer of 1994, the film follows aspiring young actor Emily (Stefani Kimber), whose dream comes true when she gets cast in a local production of Hamlet. Emily begins to feel seen and heard by the group of actors, as though she’s found her family through experimental expression. But in her naivete, she trusts that her aspirations will be nurtured and not taken advantage of. She trusts that putting herself in pain is “necessary” in the name of art. The company director, Reinhardt (Eric Johnson), operates his theatre like a cult, blurring lines between personal and creative relationships to feed his ego and toxic behavior. Written and directed by Davis, the film resonates as a coming-of-age story and a cautionary tale for young women who wish to get into the industry. Davis deftly captures the 90s mentality around what behaviors were tolerated. Additionally, Davis points out how this pre-#MeToo era made it more difficult for women to speak up about exploitation and abuse, not to mention the lack of safe spaces for women to discuss their experiences with one another. Led by an impressive performance from Stefani Kimber, The Players strikes a reverberating chord. The Players premieres on Saturday, March 29 at 6:30 pm and will be preceded by Dan Abramovici’s short film Spaceman. Canadian Film Festival (CFF) runs from March 24-29, 2025 at Cineplex’s Scotiabank Theatre in Toronto.
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 Luna Vachon in Lunatic: The Luna Vachon Story (2025) Closing out this year’s Canadian Film Fest (CFF), Lunatic: The Luna Vachon Story steps into the ring of pro-wrestler Luna “The Lunatic” as she wrestles between personal and professional demons. The documentary paints a troubling portrait of an intimidating stage persona of the World Wrestling Federation (WWF), particularly when so few women were embraced or taken seriously in the sport. From hyper-sexualization and stereotypical expectations to sexual assault and gender inequity, the documentary explores a challenging landscape through which Luna navigated. Directed, written, and produced by pro-wrestler Kate Kroll, Lunatic delves less into wrestling narratives and more into observations on Luna’s identity and how she was perceived by her surroundings, whether family and friends or former colleagues and fellow female wrestlers. Kroll attempts to infuse in-depth perspective with a mix of archival footage and floating head interviews, however, the material feels redundant and the focus is scattered. Additionally, repetitive storytelling techniques and shaky editing rob the documentary of its potential emotionality and staying power. Despite such shortcomings, Lunatic raises some intrigue about Luna Vachon’s uniquely carved legacy. Lunatic: The Luna Vachon Story premieres on Saturday, March 29 at 9:00 pm and will be preceded by Michelle D’Alessandro Hatt’s short film Brave Rebel Army. Canadian Film Festival (CFF) runs from March 24-29, 2025 at Cineplex’s Scotiabank Theatre in Toronto. 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(2025) Will the Academy Make History or Lean into Their History with Best Cinematography This Year? (2023) Will Catherine Martin Become a Six-Time Oscar Winner with Elvis? (2023) Yes, Chef: 8 Delectable Food-Centric Films (2022)  From left to right: Alireza Shojaei, Parham Rownaghi, Gus Tayari, and Mitra Lohrasb in His Father's Son (2025) Meelad Moaphi’s feature debut His Father’s Son shines as one of the most intriguing stories in this year’s Canadian Film Fest (CFF) lineup. Written and directed by Moaphi, the film explores an Iranian-Canadian family through lived-in character dynamics and layered performances. Struggling chef Amir (Alireza Shojaei) and his seemingly more successful younger brother Mahyar (Parham Rownaghi) face daily expectations from their parents, Farhad (Gus Tayari) and Arezou (Mitra Lohrasb). When the family receive news that an unexpected inheritance has been left to Mahyar, the gift cracks open revelations that will shape the family’s future. The film balances strong portrayals of each character’s perspective and finds strength in establishing how they relate to one another Amir and his father Farhad in particular share an ambiguously tense dynamic. Amir tries to make a name for himself through cooking, which Farhad does not consider a feasible career path. While the film attempts to earn an emotionally satisfying ending using this narrative father + son conflict, Moaphi’s writing lacks the depth and precision to pull it off. Additionally, the female supporting characters are not given much nuance outside of playing “the girlfriend” role. However, compelling performances elevate the material and help craft a memorable story. His Father’s Son premieres on Thursday, March 27 at 6:00 pm and will be preceded by Aisha Evelyna and Natalie Novak Remplakowski’s short film, Nola. Canadian Film Festival (CFF) runs from March 24-29, 2025 at Cineplex’s Scotiabank Theatre in Toronto.  Britt Lower in Darkest Miriam (2025) This year’s Canadian Film Fest (CFF) kicked off with Naomi Jaye’s eccentric sophomore directorial feature, Darkest Miriam. The film stars Britt Lower (known for her role as Helly R. in Severance) as Miriam Gordon, a Toronto librarian who lives a relatively strange and quiet life. Haunted by the death of her father, Miriam navigates enigmatic waves of grief while dealing with the everyday oddities of library patrons. No matter how many incident reports she files away, the patrons (Fainting Man and Unusually Pale Female Patron, to name a few) persist. So too does Miriam’s mysterious interior world, as it flows eloquently into frame, whether through Lower’s majestic performance or Jaye’s poetic use of imagery. Executive produced by Charlie Kaufman and based on Martha Baillie’s 2009 novel The Incident Report, Darkest Miriam plays in a darkly humorous and deeply fragmented wheelhouse. While the film often gets lost in Miriam’s trailing memories, and feels much longer than its runtime, there’s an enticing quality to the puzzling narrative and wry tone. Featuring an incredibly understated performance by Lower, who wisely lets the viewer put pieces of her character together, the film is full of little discoveries that speak volumes. Darkest Miriam will be available digitally on April 15. Canadian Film Festival (CFF) runs from March 24-29, 2025 at Cineplex’s Scotiabank Theatre in Toronto.  Now in its 19th year, Canadian Film Festival (CFF) returns today with another stellar lineup of Canadian stories. CFF celebrates creative voices from across the country, including British Columbia, Quebec, Ontario, Newfoundland, and Nova Scotia. This year, the festival will be showcasing 16 features and 50 shorts at Cineplex’s Scotiabank Theatre in Toronto from March 24-29, 2025. Tickets can be purchased at www.canfilmfest.ca. From the impressive lineup, 53% of films are by female/non-binary filmmakers, and 44% are from BIPOC filmmakers. The opening night film, Naomi Jaye’s Darkest Miriam, stars Britt Lower (known for her role as Helly R. in Severance) as Miriam Gordon, a sheltered librarian faced with grief as she navigates her job at the Toronto Public Library. Miriam’s existence cracks open when she receives a series of threatening letters addressed to her. The film marks Naomi Jaye’s sophomore directorial feature following 2013’s The Pin, a love story set during WWII. Darkest Miriam (based in Ontario) premieres Monday, March 24 at 7:00 pm, and will be sure to spark buzz amongst Severance fans.  Darkest Miriam (2025) The closing night film, Kate Kroll’s Lunatic: The Luna Vachon Story, shines a light on WWF villain Luna Vachon. The documentary follows Vachon through the peak of her 90’s fame, her hidden battle with mental health, and how she challenged mainstream expectations of women in the wrestling industry. The film marks Kroll’s third directorial feature following 2010’s No Fun City and 2014’s Path of Pilgrims. Lunatic: The Luna Vachon Story (based in British Columbia) premieres March 29 at 9:00 pm.  Lunatic: The Luna Vachon Story (2025) Among the festival highlights, Catherine Legault’s LARRY (they/them) spotlights Laurence Philomène, a non-binary trans photographer based in Montreal. This intimate documentary explores Laurence’s inspired work through their empowering Non-Binary Portrait Series and ongoing autobiographical book called Puberty. The book features colorful, detailed self-portraits of Laurence in domestic spaces, as they undergo testosterone shots during their transition. LARRY (they/them) excels at amplifying the autonomy of non-binary storytelling and the power of unlearning what society has taught about gender and bodies. Legault infuses her second feature with a candid approach and crafts a tender experience. Her direction and writing create a safe space for honest expression, turning the lens inward to reflect Laurence’s self-care. LARRY (they/them) radiates a powerful sense of community. Given the intimacy of Legault’s filmmaking and Laurence’s candor, you feel completely present, as though you’re in the room with them. LARRY (they/them) uplifts one of the most inspiring voices of their generation as they find personal joy amidst hardships. The documentary premieres Tuesday, March 25 at 1:00 pm and will be preceded by Laura King's short film, Paper Lanterns. Continuing Canadian Film Fest’s showcase of diverse perspectives, Tarique Qayumi’s Conceiving Clara explores the resonant subjects of midwifery and IVF treatment. The film follows Clara (Tajana Susanna Prka), a midwife who helps women give birth but cannot bear a child. Facing constant pressure from her mother-in-law, Clara decides to undergo IVF treatment and experiences complications that lead to desperate measures. Directed by Qayumi, and co-written by Qayumi and Prka, the story puts you under a spell of frustration and uncertainty as Clara searches for answers. The film leans heavily into ambiguous storytelling and features some disjointed editing. As a result, the story loses momentum and focus in its overall message. However, the thematic urgency around this narrative stands out, from protecting midwifery practices to increasing awareness and support for the commonality of infertility. In addition, Tajana Susanna Prka’s performance holds the film together with strong emotionality. Conceiving Clara premieres Wednesday, March 26 at 6:30 pm and will be preceded by Luvleen Hunjan’s short film, Whispering in the Leaves. Also featured at CFF this year, Meelad Moaphi’s brilliant family drama His Father’s Son and Sarah Galea-Davis’s avant-garde The Players each represent Ontario-based productions that explore complex character dynamics, whether between fellow relatives or fellow actors. His Father’s Son, premiering Thursday, March 27 at 6:00 pm, centers on an Iranian-Canadian family whose collective history unravels unexpected truths. The Players, premiering Saturday, March 29 at 6:30 pm, follows a young actor who finds a surrogate family when she joins an exciting theatre production. His Father's Son (2025) Spanning a variety of genres, themes, and cultures, CFF continues to bring original and inspiring Canadian stories to Canadian audiences. Celebrate the art of cinema with CFF from March 24-29 at Cineplex’s Scotiabank Theatre in Toronto. To purchase tickets and view the complete festival schedule, visit www.canfilmfest.ca/films-2025. For more information on CFF, stay updated through the channels below: #CanFilmFest Twitter / X: @CanFilmFest Instagram: @CanFilmFest Facebook: facebook.com/CanFilmFest Youtube: Canadian Film Fest  Tajana Susanna Prka in Conceiving Clara (2025) Continuing Canadian Film Fest’s showcase of diverse perspectives, Tarique Qayumi’s Conceiving Clara explores the resonant subjects of midwifery and IVF treatment. The film follows Clara (Tajana Susanna Prka), a midwife who helps women give birth but cannot bear a child. Facing constant pressure from her mother-in-law, Clara decides to undergo IVF treatment and experiences complications that lead to desperate measures. Directed by Qayumi, and co-written by Qayumi and Prka, the story puts you under a spell of frustration and uncertainty as Clara searches for answers. The film leans heavily into ambiguous storytelling and features some disjointed editing. As a result, the story loses momentum and focus in its overall message. However, the thematic urgency around this narrative stands out, from protecting midwifery practices to increasing awareness and support for the commonality of infertility. In addition, Tajana Susanna Prka’s performance holds the film together with strong emotionality. Conceiving Clara premieres Wednesday, March 26 at 6:30 pm and will be preceded by Luvleen Hunjan’s short film, Whispering in the Leaves. Canadian Film Festival (CFF) runs from March 24-29, 2025 at Cineplex’s Scotiabank Theatre in Toronto.  Laurence Philomène in LARRY (they/them) (2025) Among the Canadian Film Festival (CFF) highlights, Catherine Legault’s LARRY (they/them) spotlights Laurence Philomène, a non-binary trans photographer based in Montreal. This intimate documentary explores Laurence’s inspired work through their empowering Non-Binary Portrait Series and ongoing autobiographical book called Puberty. The book features colorful, detailed self-portraits of Laurence in domestic spaces, as they undergo testosterone shots during their transition. LARRY (they/them) excels at amplifying the autonomy of non-binary storytelling and the power of unlearning what society has taught about gender and bodies. Legault infuses her second feature with a candid approach and crafts a tender experience. Her direction and writing create a safe space for honest expression, turning the lens inward to reflect Laurence’s self-care. LARRY (they/them) radiates a powerful sense of community. Given the intimacy of Legault’s filmmaking and Laurence’s candor, you feel completely present, as though you’re in the room with them. LARRY (they/them) uplifts one of the most inspiring voices of their generation as they find personal joy amidst hardships. The documentary premieres Tuesday, March 25 at 1:00 pm and will be preceded by Laura King's short film, Paper Lanterns. Canadian Film Festival (CFF) runs from March 24-29, 2025 at Cineplex’s Scotiabank Theatre in Toronto.  Rachel Zegler in Snow White (2025) Once upon a time, anticipating a new Disney film didn’t come with grumpiness around which animated classic from an 87-year-old vault the studio would remake next. But ever since the massive success of Disney’s live-action Oscar-winning Alice in Wonderland in 2010, the studio quickly jumped on a moneymaking train, and it seemed no stone would go unturned. Then came the live-action Disney princess trend, from 2015’s Cinderella and 2017’s Beauty and the Beast to 2020’s Mulan and 2023’s The Little Mermaid. The latest addition to this trend goes back 87 years to the vault’s first animated film entry: Snow White. Director Marc Webb and writer Erin Cressida Wilson adapt the Grimm’s Fairy Tale to give the story a new spin for modern audiences. Snow White shows promise in attempting to refresh dated source material and give the titular princess a lot more to dream about than Prince Charming. But there are too many rotten apples that spoil this fairy tale adaptation. Snow White follows the same skeleton as the 1939 story. The princess (Rachel Zegler) is exiled from her kingdom by her cruel stepmother the Evil Queen (Gal Gadot). Fueled by jealousy and vanity, the Queen recites to her Magic Mirror, “who is the fairest of them all?” As long as the Mirror replies in good standing with the Queen, Snow White is safe from harm, however the truth eventually finds its way to a broken reflection. Snow White is a threat to the throne, so the Queen orders the Huntsman (Ansu Kabia) to take her into the forest and kill her. But Snow White’s capacity for kindness far overpowers the ruling. The Huntsman spares the princess’s life, and she flees into a magical forest, where her kind-hearted soul leads the forest animals to help her find shelter. This brings them to the Seven Dwarfs’ cottage, where Snow White joins forces with the diamond miners to reclaim the kingdom from tyranny. Snow White also reimagines some tunes from the 1939 film, namely ‘Waiting On a Wish’ (originally ‘I’m Wishing’). The lyrics work to establish new desires and motivations for Snow White. Rather than wishing for love to find her, she wishes to become a leader of change. She wants to live up to the values her father instilled in her, carry on her parents’ legacy, and do right not only by them but the people of this kingdom. Core messages of bravery, leadership, and kindness resonate in Snow White’s journey, especially when she stands up to the Queen and confronts her guards in the film’s final act. By refocusing what Snow White wishes for, the film finds a way to offer something new that can strike a contemporary chord. Unfortunately, Snow White’s characterization is one of few strengths in Wilson’s screenplay. Among the few, the seven dwarfs are surprisingly spirited, given their awfully distracting CGI appearances. Dopey (Andrew Barth Feldman) in particular, who finds comfort in meeting Snow White as she helps find his voice, becomes the film’s best supporting character. Doc (Jeremy Swift) and Grumpy (Martin Klebba) also get moments to shine. Most impressively, the dwarfs’ ‘Heigh-Ho’ musical number (derived from the original film) pleasantly stands out with the vocals, choreography, and production design (especially for the mines). The dwarfs themselves, however, speak to one of the most misguided decisions in the film. The combination of CGI and motion capture give them a distracting, uninspired appearance. It feels especially odd when these characters are sharing scenes alongside George Appleby, an actor with dwarfism, who plays an on-screen bandit named Quigg. While it’s great that Appleby plays a character not defined by height, the approach to the dwarfs (which featured the voice of one actor with dwarfism, Martin Klebba) leaves behind a conflicting message. The screenplay overall lacks consistency and clarity, ultimately failing to give the story a sense of urgency. The attempts to create a modern retelling pays off in some ways (Snow White) and falls flat in others (Prince Charming, who is transformed into a town thief named Jonathan). Jonathan (Andrew Burnap) makes it clear that he’s not the romantic knight in shining armor, and the film makes it clear that Snow White doesn’t need a Prince to save her. But the notions still manage to come up, whether in scenes that lead up to a potential romance, or in Jonathan literally saving Snow White’s life. The writing shows an attempt to balance Snow White’s wishes for leadership with her romantic desires, as it’s okay to want both, but it lacks the precision and nuance. There’s also a lot of uncertainty around who Jonathan’s character ought to be, and the script does no favors for Burnap, who tries his best to add some personality but ends up becoming a monotonous presence. Thankfully, the film has a compelling lead in Rachel Zegler, who portrays her best version of this character. She absolutely carries this film on her shoulders. Whether it’s her magical renditions of old and new songs, or the movie star energy she radiates, Zegler shows a keen understanding of the material she’s working with and commits to rising above it. One of her most impressive moments is featured in the film’s final act, when Snow White finds her leadership and reignites the entire kingdom to fight for fairness and truth. Zegler’s strong sense of conviction lends perfectly to this moment, infusing much-needed emotionality into hollow storytelling and making up for a weak antagonist opposite her. The poison apple of Snow White is unfortunately Gal Gadot, whose Evil Queen feels woefully out of place in Marc Webb’s adaptation. As the primary source of conflict in this story, Gadot falls short of emoting a threatening presence, causing one to question how any character can take her seriously at all. Gadot makes an attempt to go the campy route, by way of exaggerated mannerisms and line deliveries. You can almost sense that Webb encourages her to keep trying. But she leans too far into one note, and plays that note repeatedly, without really exploring the villainy of her character beyond “looking” evil through icy glares. A good Disney villain, despite their antagonistic qualities, still has charm and a conviction that they are in the right. Gadot lacks the range to pull it off, and her scenes rob the film of its momentum. Disney’s track record continues to disappoint with Snow White. The studio’s dollar-sign eyes behind flipping animated films into live-action commodities can’t help but make one weary for whenever the next one will arrive. Though, while Snow White may not be the fairest Disney remake of them all, it’s also not the bad apple of the bunch. Rachel Zegler does her best to infuse genuine commitment and life into this adaptation, making it far at least an occasionally enjoyable endeavor. If anything, Snow White further solidifies Zegler as a movie star who continues to show her strengths in carrying a film, and a movie star who deserves better.  Cate Blanchett and Michael Fassbender in Black Bag (2025) Sex, lies, and espionage. Count on the great Steven Soderbergh to deliver deliciously on all three. He infuses his panache into the familiar spy genre with Black Bag, an intensely romantic thriller that makes no compromises on trusting the audience. With echoes of James Bond, Mission: Impossible, and Who’s Afraid of Virginia Woolf?, Soderbergh and three-time collaborator David Koepp find an alluring marital drama in the throes of a British intelligence crisis. The elegant married couple at the center of Black Bag would kill for each other, and that makes for an alluring story, especially in the context of top secret professions forcing them to withhold intelligence. Soderbergh’s exacting style, Koepp’s clever script, and a brilliant ensemble of actors play into the ambiguity and tension. A bewitching puzzle box of style and substance, Black Bag shines as one of the year’s most fun psychological studies. Everything’s ambiguous in a world of cloaks and daggers. Thanks to the sensibilities of Soderbergh and Koepp, everyone and everything in Black Bag glides with the utmost precision. Intention can be felt reverberating behind each frame, whether tensely capturing a character on the move or pursuing an atmospheric angle. The story doesn’t lean too far into vagueness, nor does it overcompensate with bursts of action-packed fillers. It falls into the Goldilocks principle of “just right.” It’s a compelling story of outsiders and the games they play whilst in a state of constant paranoia. The idea of a married couple who happen to be spies offers just as compelling a narrative, since betrayal doesn’t impact them in the way that it would for ordinary people. The espionage of it all gives the marriage a level of protection where anything can be hidden under the guile that it’s confidential. The film follows George Woodhouse (Michael Fassbender), an elite intelligence officer at London’s National Cyber Security Centre (NCSC). George faces the ultimate loyalty test when a security breach forces him to find a mole in the agency before they can activate Severus, a destructive software that has the power to destabilize a nuclear facility. Five names make the suspect list of being a traitor. Four are friends and colleagues: Freddie (Tom Burke), Clarissa (Marisa Abela), Zoe (Naomie Harris), James (Regé-Jean Page). The fifth is George’s wife Kathryn (Cate Blanchett), one of the organization’s most powerful and valuable agents. Who has the knowledge and clearance to reach Severus? A carefully spun web of secrets and lies casts doubt on George’s loyalty, leading him down a path of potentially risky devotion. Black Bag poses the question, “When you can lie about everything, how do you tell the truth about anything?” David Koepp’s script takes this idea and glides with it, particularly through exploring the devotion between George and Kathryn. The couple’s professional loyalty calls upon them to mask the political turbulence that surrounds them. They are experts at not letting their emotions leave a facial trace. George and Kathryn’s achingly cool exterior raises envious eyebrows from their surroundings: how can two people in this line of espionage possibly operate on a romantic wavelength? How can they sustain a real relationship built on trust and communication? The trick lies in the “black bag,” their code for where to put information they can’t share. Koepp achieves the marvelous feat of centering the story using this portrait of a marriage, while also keeping ambiguity between the couple. More often than not, the film teases out details about George and Kathryn respectfully through other characters and/or scenarios. The couple’s fabulous-looking home doesn’t reveal a lot of personal secrets about them in particular, but does invite the lives of others onto an exquisitely lit table. The film features not one, but two absolutely riveting dinner sequences, feasting with layered narratives and visual treats. The mind games Kathryn and especially George play with their guests echo bits of Who’s Afraid of Virginia Woolf?. It’s a serious game of truth and dare, where characters chew up and spit out information about each other, secretly hoping they can dare certain crucial truths to come out. These sequences are tons of fun to watch unravel. The biting dialogue keeps you hooked on every word, as do the brilliant cast, who keep you guessing on what the characters’ intentions are. Whilst everyone at the table has a clear job of pulling intelligence from technology, they reveal themselves as much more concerned with pulling from each other’s humanity. The character of Clarissa (Abela) brings forth an intriguing observation. She pushes George (Fassbender) on his emotionality, questioning why he can’t have a normal conversation or express his feelings in a way that doesn’t sound so…operative. Clarissa’s self-awareness (played with great charisma by Abela) breaks up some of the tension, and speaks to a through-line of sophisticated humor in the film. The stakes are high, but so is the playfulness, and one can feel the satisfaction everyone’s having in devouring their characters. Michael Fassbender in particular brings magnificent control to George’s interior conflict, whether it’s his calm demeanor or minimalistic line deliveries. He has an alluring counterpart in his wife Kathryn, played with a delicious mix of vulnerability and expressiveness by Cate Blanchett. Blanchett brings a hypnotic old-school glamour to her role that aligns with Fassbender’s classic portrayal of George, making them a perfect match. Fassbender and Blanchett are also joined by a tremendous ensemble, from Naomie Harris and Regé-Jean Page to a small yet impactful appearance by Pierce Brosnan. The ensemble of gorgeous spies, and the particular casting of Brosnan and Harris, sprinkles a bit of James Bond energy to the story. Additinally, the themes built on espionage, technology, and loyalty echo some quintessential Bond storytelling. These echoes enhance the cinematic feeling Black Bag carries, and Steven Soderbergh makes it all look so easy. Through lean and exacting direction, Soderbergh shows the beauty of efficient filmmaking. He strives to make one lean picture after another, and in the last few years alone, continued to prove his remarkable range; from 2017’s Logan Lucky and 2018’s Unsane, to 2022’s Kimi and 2024’s Presence. Black Bag is by no means a “welcome back” for Soderbergh, but rather a testament to the consistency he’s demonstrated throughout his career. He is simply one of the greats, with an envious ability to visualize such captivating stories in swift runtimes. Throughout Black Bag, Soderbergh draws tension and mystery from achingly beautiful and precise angles, full of narrative intention. The film’s exquisite crafts also speak to the strength of Soderbergh’s vision. From the director’s own cinematography (the fog on George’s glasses while cooking!) and Ellen Mirojnick’s costume design, to David Holmes’s score and Philip Messina’s production design (George and Kathryn’s house!), the visual language beams with 1970s London glam. The characters’ luxurious, sophisticated costumes are never compromised. There is a consistent level of detail to each one, whether Kathryn’s sleek fabrics she can easily slip in and out of, or George’s perfectly tailored suits and matching glasses. All the locations feel fully realized and evoke the feeling of watching a 60s or 70s film in a contemporary vein, which can also be said for how the characters operate. Fassbender’s George in particular reminds me of Michael Caine in Sleuth and Richard Burton in Who’s Afraid of Virginia Woolf?, especially in the sophisticated mental gymnastics and controlled playfulness of those characters. Some settings can be described as having “a quietly noisy relaxed intensity,” to quote Burton in Virginia Woolf?. Black Bag operates in that vein of intensity from beginning to end. A sleek and precise surface masks a whole lot of messy turbulence. What can’t be masked, no matter how much expertise these spies have in cloaking their intentions, is how sexy intelligence and romantic loyalty are. This story works just as much magic as a relationship drama than it does as a spy thriller. Black Bag arrives in theaters on March 14. |
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