This year, Steven Soderbergh has delivered two notable films: “Presence,” released in January, and “Black Bag,” which hit theaters in March. Both films, penned by David Koepp, initially received critical praise, particularly “Black Bag,” a romantic spy thriller reminiscent of ’90s cinema. Yet, the film’s box-office performance has fallen short, indicating that mainstream audiences aren’t flocking to theaters for such mid-budget features anymore. For the betterment of the film industry, Soderbergh needs to take creative risks, harkening back to the bold innovations that once defined his work.
During the ’90s and early 2000s, Steven Soderbergh was renowned for his innovative filmmaking, distinct from typical studio directors. After ending a brief retirement in 2017, Soderbergh has gravitated towards stripped-down genre exercises, exemplified by films like “Logan Lucky” and “Kimi.” While his recent works might seem formulaic on the surface, they offer a refreshing escape from the current trend of bloated blockbusters. Still, “Black Bag” didn’t captivate audiences as expected, possibly due to its safe and familiar approach.
Soderbergh’s career launched during the ’90s indie boom, with his debut “Sex, Lies, and Videotape” earning him a Palme d’Or and acclaim for its radical exploration of Generation X’s sexual alienation. With “The Limey,” he infused a revenge thriller with avant-garde storytelling. His crime epic “Traffic” won him the Best Director Oscar and influenced a generation of filmmakers. Even amidst blockbusters like “Ocean’s Eleven,” Soderbergh sought projects that defied conventions, like the experimental “Full Frontal” and “Bubble,” showcasing his willingness to take creative risks.
The call for Soderbergh to revive his audacious filmmaking does not diminish the quality of his recent works. Despite his shift towards more constrained projects, he continues to infuse them with dynamic energy. Since his bifurcated docu-drama, “Che,” and the following production challenges, he has steered clear of grand historical epics or awards-focused films. However, with the current studio climate stifling originality, it’s unclear if he could return to the high-budget projects of his earlier career.
Many of Soderbergh’s significant films, like “Erin Brockovich” and “Magic Mike,” were not grand spectacles but rather incisive character studies that showcased his directorial prowess. “Erin Brockovich” elevated Julia Roberts into an Oscar-winning actress, while “Magic Mike” positioned Channing Tatum as an actor to watch. These films highlighted Soderbergh’s ability to blend commercial appeal with artistic daring. However, his recent works, though clever, lack the emotional depth of earlier projects like “Solaris” or “Contagion.”
With the current box office landscape struggling, films like “Black Bag” might face increased scrutiny from studios hesitant to invest in mid-budget originals. Despite Steven Soderbergh’s influence and accrued goodwill, the industry might be reluctant to pursue such films unless they promise substantial cultural impact. His recent ventures, while enjoyable, lack the groundbreaking quality of hits like “Out of Sight” or “Ocean’s Eleven.” Some argue that his nostalgic genre films have inadvertently contributed to the industry’s stagnation, much like the deluge of franchise adaptations.
The audience’s desire for original movies is clear, yet “Black Bag’s” performance suggests a disconnect between such desires and reality. The film may have felt more like a rehash of classic spy thrillers, leaving viewers skeptical of its originality. Steven Soderbergh, known for his daring past, could once again spearhead a cinematic revolution. By embracing innovative storytelling, he can inspire a new wave of cinema, moving away from the comfortable familiarity that has ensnared many filmmakers today.
