Film Review - NOW YOU SEE ME ★★½☆☆☆

Sleight of hand, misdirection, analyzing body language, and staying two steps ahead of the audience, these are the tricks of the trade that have allowed magicians to wow and befuddle audiences with their illusions for decades. Now You See Me manages to use these methods to keep us guessing as a serviceable big screen crime caper, but as a magical work of wonder, overall the magic falls fairly short.

The film's rousing prologue introduces us to four performers who are brought together to become an internationally famous magic act known as The Four Horsemen. We have a fast talking street trickster Danny (Jesse Eisenberg), the mentalist Merritt (Woody Harrelson), pickpocket Jack (Dave Franco), and the lovely escape artist Henley (Isla Fisher). Fast forward a year later, the Horsemen have a millionaire benefactor Arthur Tressler (Michael Caine) who funds their lavish hi-tech Vegas stage act and are on the radar of a former magician Thaddeus Bradley (Morgan Freeman), who makes millions from online videos by breaking the illusionists' bro code and debunking the stage acts of other performers.

The Horsemen conclude their shows with an elaborate literal bank robbery where worthy audience members see their checking accounts swell by tens of thousands of dollars. So the stage is set and it brings them under the eye of the FBI led by Agent Dylan Rhodes (Mark Ruffalo) and Parisian INTERPOL Agent Alma Dray (Melanie Laurent). The foursome have more high stakes heists up their sleeves in their next two performances in New Orleans and Queens, New York, which leads to their cat and mouse pursuit from interantional authorities.

Our magicians repeatedly outwit, outsmart and outpace the feds, managing to make them look like buffoons on a keystone cops level, and it keeps the tone from getting into dark territory. The film tries its hand at throwing as many twists and turns in the plot that should keep the audience guessing, but offers little opportunity to figure any of it out by adhering to a "with magic, anything can happen" playbook. Our heroes, who have taken on a Robin Hood-worthy take from the rich and give to the poor crusade, are allowed to pull the rug from under us in a grounded setting with feats of magic that break real world logistics. This tends to blur the line on the flip flop nature Now You See Me treats the art in the same vein if you prefer either the title Magician or Illusionist, which imply different things.

In the true high bar set by The Prestige, the characters stay steps ahead of both the audience and each other. Upon repeated viewing, you actually catch clues brilliantly laid out before you and had not noticed before. Now You See Me attempts no such bold depth, and relies on little subtlety instead using broader strokes to reveal its secrets in flat out flashbacks.

To keep us happy, the curtain is pulled back several times and we do get to see how some tricks are executed. That's fine and its also crucial to the plot, but when written off under the cloak of magical powers, we are assaulted with characters performing numerous physically impossible feats that defy physics. Also in revealing how some of their escapist illusions are actually pulled off, the insane necessary resources readily available to them makes you take pause for plausibility.

A true highlight is an inspired sequence in an apartment where Franco's Jack has a drag out test of wits opportunity to escape an FBI raid. He literally dazzles and battles the agents with practical magic. Its an all too brief glimpse of the film's real world potential when most of the showy illusions utilized are so outlandish they shatter any hope for sustained suspension of disbelief. But watching quick thinking, ingenuity and magician's tools take on the feds in hand to hand combat is where the film hits its target.

Director Louis Leterrier (The Incredible Hulk, Clash of the Titans) breaks into several sudden well staged action packed chase sequences (and he's damn good at it), but they come as fast as they go and tend to come off as gratuitous ploys to amp up the action for what feels should be a thinker's paced film.

The film is blessed with a superb cast, each one bringing enough to the table in this ensemble cast. But as a far as our four lead magicians are concerned, beyond some witter banter there is little connect or perceived camaraderie between them beyond their broad projected on-stage relationship. They have been a team for over a year, and there is scant chemistry and at the end of the day, it seems they all still distrust each other. Even when one of them is taken out of action, the remaining three show no remorse in the loss. Whether it should be presented on screen as justified misdirection to the audience or not, it doesn't make the team appear to be the close knit group you should be rooting for. Ruffalo has a good time with his role here, and it shows on screen. Academy Award winners Freeman and Caine provide nothing less than the solid backbone you would expect from them.

The story itself is straightforward but multi-layered and moves along with a brisk pace that you have to keep up with. Leterrier keeps the camera moving and circling about constantly and allows you little time to over think at any time. There are very few moments when things slow down and it by no means lacks visual flare or flashy special effects. But the sometimes lavish CGI takes away from grounding the magic in a real world setting, which the film finds a hard time defining. By the time the credits roll and the plot points are all out of the sorting hat, you definitely feel its take on the magical line has been blurred completely.

Despite being a lively well cast heist film, there is not much of a magic show in terms of sheer wonderment. Now You See Me is a harmless lighthearted romp that supplies ample action, twists and turns, and will keep you ultimately guessing on where its all leading to. I am probably most guilty of the fatal error of having my hopes up too high based on the film's intriguing first trailer below, but that is the effective magic of early marketing at work.

Now You See Me opens in theaters on May 31st.

REVIEW RATING: ★★½☆☆☆
Director: Louis Letterier
Starring: Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Melanie Laurent, Isla Fisher, Dave Franco, Michael Caine, Morgan Freeman
Screenwriters: Ed Solomon, Boaz Yakin, Edward Ricourt
Studio: Summit Entertainment
Rated: PG-13
Running Time: 116 minutes

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FIlm Review - THE GREAT GATSBY ★★½☆☆☆

Adapting The Great Gatsby for the big screen is by no means a task to be taken lightly. Aussie director Baz Luhrmann, whose notable previous efforts include Moulin Rouge and Romeo + Juliet, proves to be an interesting and wild card choice to take on F. Scott Fitzgerald's iconic 1925 novel. This version will probably split the opinions of many moviegoers rather than win over the masses.

Luhrmann delivers a lively 3D spectacle that indeed, he has not take lightly by any stretch of the imagination and features a solid cast led by Leonardo DiCaprio as the enigmatic Jay Gatsby. The film is heavily armed with the expected kinetic extravagance and visual flair that should come from a fitting adaptation of the novel. The numerous lavish sweeping shots, vibrant grand party scenes and rich retro production design certainly pay proper homage to this tragic tale set in the Roaring Twenties.

Narrated from the perspective of Nick Carraway (Tobey Maguire), the film is a faithful version of the novel, chronicling the tragic relationship of Jay Gatsby, a mysterious millionaire who throws massive parties on his Long Island estate, and his former sweetheart Daisy Buchanan, Carraway's cousin who lives across the bay that separates the East and West Eggs of the affluent area.

For all its glitz and glamour though, in this case the love story comes off as all the more downtrodden and tragic since for many of us, how it all ultimately ends up is of little surprise. As governed by the book, Gatsby tells a complicated tale that is not a straightforward sweeping romance, and the title character has a healthy case of obvious creepy obsession over an opportunistic socialite who happens to be willing to tough it out in a sham marriage to an affluent cheating bastard. While there is much joy to behold in the constant barrage of big screen eye candy, the core nature of the story allows little joy for any of the characters who inevitably get far from what could be called a happily ever after ending.

DiCaprio is without question inspired casting for Gatsby. He looks the part, provides the perfect presence and certainly exudes all the qualities we expect when bringing the character to life. What goes against him is simply his own superstar power presence that at times had me struggling to separate seeing Leo up there over Gatsby, and calling to question if a lesser know actor may have allowed us to accept more Gatsby than DiCaprio. It's for this very reason DiCaprio is hesitant to take on roles like this, certainly one with the inherent weight that goes along with anchoring this film. Regardless, the DiCaprio contingent will be pleased by his performance.

Joel Edgerton on the other hand, easily slips into the sleaze and hot temper that is Tom Buchanan. Carey Mulligan makes a fine Daisy, but isn't allowed to play it with much depth, and seeing the character here on the big screen, it's apparent what little was brought over in the translation. Maguire I admit, successfully brings his best Toby Maguire to Nick Carraway, who at the opening of the film is telling the tale of the summer of 1922 to his therapist in an alcohol rehabilitation hospital. He plays a great second fiddle and the only true friend to Gatsby, plus Maguire's wide eyed awkwardness is perfect and necessary for not going toe-to-toe opposite DiCaprio.

The 3D in an interesting choice here, as these days I tend to more frequently dissect the motivations for utilizing the technology in so many tentpole studio releases (other than inflating ticket prices). Luhrmann displays a keen eye and knows the proper place has 3D in this film. Whether it's the sweeping crane shots that successfully sell the lavish decadent atmosphere of Gatsby's parties, the speeding car scenes over the Queensboro Bridge, or even the many picture perfect establishing shots that would not be possible without a lot of help from expensive computer imagery, Luhrmann thankfully knows how to paint his cinematic canvas correctly with the additional dimension. Sometimes though, the simplest image of a single character framed in a shot with shallow depth of field is actually what works the best. But a lot of the film's expansive exterior shots rely heavily on CGI, which despite the best intentions of recreating the past, still look unabashedly CGI.

What surprised me was the much talked about Jay-Z-produced soundtrack, which sees fit to juxtaposition the sounds from the Jazz Age with contemporary artists tunes from Jay-Z himself, Florence + The Machine, Beyonce and Andre 3000. Frankly this overt musical stunt did little for my enjoyment of Luhrmann's Moulin Rouge, so I expected to abhor a similar attempt in Gatsby. But I was wrong on this count. The music is surprisingly not overdone or does it ever overstay its welcome in any of the scenes its utilized in. Don't get me wrong, you are well aware you are not hearing music historically accurate to the period, but with the Luhrmann's music video style of direction, the songs add another layer without becoming over the top distractions.

There is little subtlety or an attempt to re-invent the story itself, which will relieve literary purists (one of my junior year high school teachers particularly comes to mind), and The Great Gatsby certainly does not fall short in both the visual and musical departments. You may however grow weary of Gatsby's familiar penchant for calling folks "Old Sport," which he uses with drinking game frequency. It's a case of what works on the page quickly grows tiresome as movie dialogue. There are definitely many moments that are spot on, mainly the party scenes and rich retro costumes and decor, but you unfortunately don't get big pulses often enough throughout the near two and a half hour running time to really capture all the magic you have envisioned from the novel.

But for what could be considered the thankless task of bringing an iconic literary work to the big screen, what we get is an overall mixed bag blessed with lot of extravagant flash but in the end has far less soul. Though that almost seems fitting where Jay Gatsby is concerned.

The Great Gatsby opens in RealD 3D on May 10th.

REVIEW RATING: ★★½☆☆☆
Directed By: Baz Luhrmann
Starring: Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Joel Edgerton, Isla Fisher 
Studio: Warner Bros.
Rated: PG-13
Running Time: 142 minutes

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