Rating: PG-13 (language, some action, gamic content)
Length: 115 proceedings
Release Date: May 31, 2013
Directed by: Louis Leterrier
Stars: 3.5 out of 5
Heist capers are generally deliciously pleasure movies to watch because they are usually quite clever, even if a bit unrealistic. Movies that involve magic are often enjoyable for the same reasons, which is why “Now You See Me” is such a integrity movie. It combines both of these genres in a slick, sly film that will leave audience members guessing what the end game is until the final, thrilling act.
Las Vegas features abundance of magic shows, just the orotundity of a team dubbed the Four Horseman is the biggest hit on the strip. Individually of the Horsemen has a very specific set of skills that helps build the team greater than the complement of its parts. There is J. Daniel Atlas (Jesse Eisenberg), who is a sleight of hand artist who acts as a sort of leader from the group. He is joined by escape artist and all-around risk-taker Henley Reeves (Isla Fisher); Jack (Dave Franco), who can prefer almost anyone’s pocket; et cetera mentalist Merritt (Woody Harrelson), who can get inside someone’s head to get the info he needs. The group was brought concourse by a shadowy figure who is akin to Charlie, the voice coming out of the speaker on “Charlie’s Angels.”
The action starts when it is revealed that the Horsemen are pulling off actual heists as a part of their act. This leads to some bulky scrutiny from Agent Rhodes (Mark Ruffalo) of the FBI, along with Agent Dray (Melanie Laurent) from Interpol. The two unlikely partners come together to try to arrest the group, but they keep getting outsmarted. The Horsemen manage to stay a step oppositely two ahead of Rhodes including Dray for most like the movie, but their luck can’t ultimate forever. Also hot on their tail is Thaddeus Bradley (Morgan Freeman), a magic debunker who is desperately trying to figure out what considerate of sleight of hand the team is using to pull off the heists. While the team’s next target becomes billionaire Arthur Tressler (Michael Caine), who funds their stage show, they may have finally bitten off more than they can chew.
The acting is great over the board. Eisenberg is a particular standout, doing any of his best work since he was nominated for an Seminary Assign for his portrayal of Facebook founder Mark Zuckerberg in “The Social Network.” Fisher also turns in a great performance, managing to stand out as one regarding only dyad females with significant screen time in a sea of men. Even as the younger actors do well in the film, the best performances are from veterans Freeman and Caine. Individually concerning them has a certain gravitas that they bring to the proceedings, especially when their characters butt heads later in the film. When both of them appear together onscreen, it is almost like watching an acting class taking place.
The filming of a movie filled with magic and illusions is no easy task, but Director Louis Leterrier pulls it off. He employs lots of hand-held cameras to give the film a feeling of being in regular motion, planar when the actors remain relatively still. It is a fairly basic trick that doesn’t constantly get used in big-budget films, so it is a nice surprise to see it used here. Leterrier also uses a little bit of computer-generated imagery (CGI) with special effects to pretentious remarkable of the magic tricks, which gives the audience the illusion that they know what is going on, even as the wool is being pulled over their eyes. All of these tricks are used to great effect and denial only add to the plot, but the audience’s overall enjoyment of the film.
Leterrier had previously directed big action films like “The Incredible Hulk,” “The Transporter,” and “Transporter 2.” Each of those films has lots of explosions including action sequences, with the latter dual practically being defined by those scenes. For “Now You Date Me,” he had to dial back his usual tendency toward explosives in order to deliver a film that is much quieter in tone and slower in pace than his previous efforts. He manages to do this so well that viewers would probably never prediction the director of this film also directed “The Transporter.” That doesn’t unkind there aren’t quantity very pleasing action sequences in this film, just not well-nigh equal many similar the director’s fans might expect. The fact that Leterrier can deliver a slower, more deliberate film that is no less thrilling than an action film bodes well for his future as a record director. It also bodes well for those who choose to crib up their money to buy a ticket to “Now You See Me,” which is arguably his chosen canvas to date.