REVIEW: Third time's the charm for 'Now You See Me, Now You Don't'
When three young magicians pose as the infamous Four Horsemen to stage an underground show, J. Daniel Atlas (Jesse Eisenberg) emerges from hiding to make them face the consequences of their actions. On the run since the events of Now You See Me 2, Atlas offers the three a chance to join The Eye, an ancient organization that uses the art of illusion to punish criminals.
This time, their target is Veronika Vanderberg (Rosamund Pike), a South African diamond magnate who’s been using her family company to launder the ill-gotten wealth of global terrorists for decades. As Atlas and his new allies close in on Veronika, original Horsemen Merritt (Woody Harrelson), Jack (Dave Franco), and Henley (Isla Fisher) arrive on the scene, leading to their grandest finale yet.
When it comes to hooks, the notion of famous magicians pulling high-stakes heists is downright brilliant. Heck, the Ocean’s 11 movies are as much about stagecraft and distraction as they are about larceny, so adding magic and social justice crusading to the mix should have been a home run.
Unfortunately, the first two Now You See Me films were made by people with so little faith in actual prestidigitation, they relied on poor CGI, obnoxious editing, and ludicrous twists to tell their stories; the Four Horsemen’s accomplishments weren’t magical because of anything the talented cast brought to the screen, they were only so because the films told us that was the case.
Furthermore, 2014’s original Now You See Me was largely driven by Dylan’s (Mark Ruffalo) FBI investigation, reducing the Four Horsemen to plot devices in what should have been their movie. Subsequently, 2016’s Now You See Me 2 prioritized smug one-liners, Daniel Radcliffe’s stunt casting, and half-baked gimmicks over character development. Now You See Me, Now You Don’t finally treats the Four Horsemen like actual people, and it makes for a fun time—this is a talented cast, and it’s insane that it took three movies for them to get their proper spotlight.
Series newcomer Ruben Fleischer’s direction keeps things (mostly) within the realm of possibility, while simultaneously keeping the action fast and coherent. Where the previous entries made no distinction between stagecraft and superpowers, NYSMNYD never insults its audience’s intelligence; the illusions at play here may strain credibility, but no more so than most of Danny Ocean’s schemes. This is especially apparent in a fun chase through an illusion-laden château that utilizes the entire cast while showcasing inventiveness that renders nearly everything in the second film to shame.
The returning Horsemen are clearly having a blast, stepping back into their old roles with ease while showing hints of personal growth. Atlas, for instance, comes across as a much-improved leader, with Eisenberg smartly toning down much of his character’s (previously) insufferable nature. Isla Fisher’s escape artist, Henley, brings a delightful energy to the proceedings, and the screenplay even addresses her absence from NYSM2, as well as the status of her “replacement,” Lula (Lizzy Caplan).
Newcomers Bosco, June, and Charlie are played by Dominic Sessa, Ariana Greenblatt, and Justice Smith, respectively. As aspiring magicians hoping to follow in the Horsemen’s footsteps, the three add youthful exuberance to the proceedings, while holding their own against the legacy mainstays. Indeed, if any of the previous cast decline to appear in future installments, (any of) these three would make for excellent replacements.
Hands down, Now You See Me, Now You Don’t is where the series finally gets things right, blending new and returning characters with existing lore and classic illusions to build a mostly believable plot that builds on what’s come before; more importantly, the film manages to redeem a previously middling franchise without changing its core premise, while also setting the stage for adventures to come.
As far as sequels go, that is one hell of a trick.
