A scene from ‘Now You See Me: Now You Don’t’

Now You See Me: Now You Don’t review: It’s a magical show

‘Now You See Me: Now You Don’t’ brings the fun back into a franchise that faltered a little the last time it took the stage.

The Now You See Me franchise builds on the age-old connection between magicians and con artists, which continues in the shrewdly named sequel, Now You See Me: Now You Don’t.

The Horsemen — Atlas (Jesse Eisenberg), Merritt (Woody Harrelson), Jack (Dave Franco), Henley (Isla Fisher) and Lula (Lizzy Caplan) — haven’t graced the stage together in a decade (which is coincidentally almost the same amount of time since the last sequel). But they’re drawn out of hiding by a trio of young magicians who revive their revered stunt of taking from the rich and giving to the poor. The Eye recruits everyone to takedown a diamond heiress (Rosamund Pike) whose family built their empire by working with criminals. However, with unprecedented security to circumvent, stealing the prized heart diamond will be their most difficult heist yet.

While reuniting with his Zombieland stars, director Ruben Fleischer reinvigorates the series after a less-than-compelling first sequel. The original Horsemen resume their roles effortlessly, but it’s the new generation that inject the narrative with youthful energy. Bosco (Dominic Sessa) is a chameleon, skilfully assuming other people’s voices and appearances. June (Ariana Greenblatt) is an expert pickpocket and parkourist. Charlie (Justice Smith) is the brains behind their small operation, designing their tricks and recalling all kinds of useless magic facts.

This franchise repeatedly finds exciting ways to blur the thin line between magic and elaborate heists. The jet setting magicians shoot in some interesting locations, including the Formula 1 track in Abu Dhabi. However, the most fascinating set is an old magician’s house. It’s like an adult funhouse! It has hidden passages, rooms that fully rotate, furniture that makes people appear giant or tiny, a mirror maze and an M. C. Escher chamber. Even the front door requires they solve a puzzle to gain entry.

The franchise’s success lies with its flashy personalities and intricate tricks, and it brings both in this installment.

Read the full review of Now You See Me: Now You Don’t at thatshelf.com.

Director: Ruben Fleischer
Starring: Jesse Eisenberg, Woody Harrelson and Dave Franco

Similar Posts

  • Review: ‘A Star is Born’ plays an unanticipated melody (Includes first-hand account)

    This film has been remade multiple times, in different languages and has generally featured compelling actors in the leading roles. This tale of discovery, stardom and disappointment is timeless, and each rendition is enriched by the individuals’ interpretation of the role. The other pivotal element of the picture is the soundtrack, which drives the relationship at the centre of the narrative. It requires performers with range as they must convey deep emotional connections as well as sing. The film being described is none other than A Star is Born.

  • Review: ‘The Assassin’ presents a strong, silent female hero (Includes first-hand account)

    While female heroes are still an uncommon occurrence in cinema, they are more prevalent in some genres than others. Martial arts pictures boast a number of women protagonists who prove capable in a variety of circumstances, including physical altercations. Whether on a mission of revenge or attempting to complete a quest, these women match the proficiency of their male counterparts and fulfill their requirements as hero to a tee. The Assassin features one of these female action stars.

  • Review: ‘Recruiting for Jihad’ is an eye-opening Hot Docs selection (Includes first-hand account)

    Globalization has led to unprecedented interest in world affairs. Not only do foreign events influence local politics, but people’s basic interest in what’s happening “over there” has grown exponentially. Add to this the immediacy of news and the internet, the great wide world is smaller than ever. A consequence of this connectivity is (often superficial) knowledge of international tragedies or crimes. One of the activities to come to light is the recruitment of Western Muslims for ISIS. Recruiting for Jihad documents the life of a well-known, Norwegian Islamist missionary.

  • Review: Someone has an unfair advantage in ’Sixty Minutes to Midnight’ (Includes first-hand account)

    As war and disasters increasingly normalize violence and death, people become immune to the bloody consequences… even more frighteningly, they can begin to crave the carnage. It’s been theorized that this phenomenon has led to an increase in brutality in movies and video games, which in turn has led to an increase in everyday aggression. This idea has been represented in fiction in a variety of ways and for much longer than the current potential culprits have existed. The latest to explore this lust for blood is an independent picture titled Sixty Minutes to Midnight, which turns surviving into a game that’s certainly fixed.