Now You See Me screened after WW press deadlines, presumably to make us think it had a trick up its sleeve. But nopeâthere's nothing there.
Critic's Grade: C
Now You See Me
The Incredible Hulk
Clash of the Titans
An opening montage introduces us, Oceanâs Eleven-style, to our four magicians: the smartass cardsharp (a fast-talking Eisenberg); the charming but slightly shady mentalist (Woody Harrelson); the sexy escape artist (Isla Fisher, here to look good in miniskirts and do little else); and the streetwise pickpocket (Dave Franco, here to do even less than Fisher). Summoned by an unknown leader and christening themselves the Four Horsemen, they launch a series of heists. Why? We donât know. Itâs unclear if the Horsemen themselves know. At the first show in Las Vegas, a ârandomly chosenâ audience member teleports to Paris to help the Horsemen rob a French bank, which causes 3.2 million Euros to rain down on the giddy spectators. This raises eyebrows at the FBI and Interpol, who begin trailing these wily illusionists.
For the first 45 minutes or so, the film is goofy entertainment, and the introduction of a few more big-name starsâMichael Caine as the groupâs financier and Morgan Freeman as a debunker of magic tricksâholds promise. But when a scene in which Caineâs character threatens Freeman with a ridiculous-looking voodoo dollâa scenario that should be ripe for self-aware funâlands with a thud, you know youâre in trouble. Indeed, once the Horsemen land in New Orleans for their second big trick, the film flies off the rails and becomes stupid, implausible and, worst of all, boring. âWill the dark mysticism of this Southern swampland get the best of them?â asks Freeman, in one of the flimsy screenplayâs worst clunkers.
The problem is that we donât care. We donât know which side to root for, and itâs not even clear whoâs good and whoâs evil. Ambiguity isnât a bad thing in cinema, but stripping a film of any meaningful character development leaves audiences adrift and apathetic. For a moment it seems the Horsemen might be Occupy types, modern-day Robin Hoods who seek to return money to those whoâve been screwed over by banks and insurance companies. Yet theyâre neither fully developed characters nor symbols of economic justice.
Now You See Meâs other hitch is one that plagues all films about magic, which is that cinema is already an art of illusion. The thrill of magic comes from seeing it live, but in Now You See Me thereâs no distinction between computer-generated trickery and human-generated deception. (Thereâs also a fight, filled with fast-burning flash paper, which looks like a wand duel straight out of Harry Potter.) The film devotes extensive time to explaining how the Horsemen pull off their heists, but the answer isnât interesting. Throughout, characters proclaim how magic is all about misdirection, about getting the audience to look away from where the real trick is happening. Too bad, then, that with all his interest in distracting the audience, Leterrier has left us nothing else to see.