"It seems like Steven Soderbergh might have developed a late case of anglophilia, the retirement-teasing director situating himself in London for three films within the last two years. The first was a needless, throwaway Magic Mike sequel, but then this spring he gave us the delicious spy caper Black Bag, a juicy riff on both John le Carre and Agatha Christie that dared to imagine a monogamous and supportive marriage as the epitome of sexiness."
"Like the frequent Soderbergh collaborator and Jurassic Park scribe David Koepp, writer Ed Solomon has also mastered the art of taking a blockbuster cheque. His credits include Charlie's Angels, Men in Black, Super Mario Bros and, more recently, the Now You See Me movies, but his first film with Soderbergh was 2021's ensemble crime drama No Sudden Move, and he's brought another smaller, more character-driven story his way."
"Unlike Woody Allen, who cursed us with a string of London-set clunkers after Match Point (Cassandra's Dream, a film that cast Colin Farrell and Ewan McGregor as cockney brothers, easily the most heinous), Soderbergh seems to be sticking around for reasons other than a nice holiday, his second offering of 2025 also feeling notable. It's a quieter project than his last,"
Steven Soderbergh has set three films in London over two years, moving from a throwaway Magic Mike sequel to the spy caper Black Bag, which riffs on John le Carré and Agatha Christie and frames monogamy as attractive. The director's second 2025 film is a quieter, intimate two-hander closer to a stage play that prioritizes storytelling over purely technical display. Soderbergh reunited with screenwriter Ed Solomon, who brings big-budget credits but now offers a smaller, character-driven tale. The Christophers presents talky, often very funny comedy-drama with plot reversals that flirt with thriller tension while remaining unpredictable.
Read at www.theguardian.com
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