Giving a bunch of screentime to Mark Ruffalo is never a bad thing, and he plays Rhodes' frustration with a compelling balance of frustration, comedy, and curiosity even though Ed Solomon, Boaz Yakin, and Edward Ricourt's script is constantly pulling us away to watch underdeveloped characters. He's the one constantly pursuit, the one who has to discover what's really happening, and the one who has no idea who he can trust. Without the help of Thaddeus, Rhodes and Dray attempt to stop the Horsemen before their ultimate heist.ĭespite all the marketing focusing on the Four Horsemen, this is really Rhodes' story. Meanwhile, the Horsemen's escapades are tracked by Thaddeus Bradley ( Morgan Freeman), a former magician who now makes a living exposing the tricks of others.
After robbing a bank in Paris, they're pursued by FBI Agent Dylan Rhodes ( Mark Ruffalo) and INTERPOL agent Alma Dray ( Melanie Laurent), but the magicians always manage to stay one, three, or seven steps ahead. Financially, they're supported by the wealthy Arthur Tressler ( Michael Caine), and the magicians' main attraction is using their illusions to take from the rich and give to their poor audiences.
Street magician Danny ( Jesse Eisenberg), mentalist Merritt ( Woody Harrelson), pickpocket Jack ( Dave Franco), and escape artist Henley ( Isla Fisher) are brought together by a mysterious magical benefactor, and turned into the most famous magic act in the world: "The Four Horsemen". The movie should craft an intriguing illusion, but aside from some clever moments and Mark Ruffalo's performance, Now You See Me is a cheap trick. But the film's most egregious trespass is taking an outstanding cast and forgetting to give them characters. The story also doesn't seem to have much affinity towards magicians since it portrays them as smug and self-satisfied. Leterrier seems torn between wanting to provide cool magic tricks that could conceivably be performed in real life, and then he swings wildly to effects-laden set pieces. For a movie that centers on magicians, the most spectacular thing about Now You See Me is how spectacularly it wastes both its premise and its cast. The opening line of Louis Leterrier's Now You See Me warns "The closer you look, the less you'll see." But it doesn't matter how closely or carlessly you look because there's not much worth seeing in the film.
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