NOW YOU SEE ME

US, 2013, 115 minutes, Colour.
Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Dave Franco, Michael Caine, Melanie Laurent, Morgan Freeman.
Directed by Louis Letterier.

This caper with comic touches reminds us of the perennial attraction and power of magic.

We are introduced to three magicians in some detail. At the end of what seems like an audition for us the audience, we realise it is an audition for a mastermind who will employ them for over a year to work his magic in public, in Las Vegas, in New Orleans, in New York City. And they certainly do.

Jesse Eisenberg is a controlling type with ambitions – he asks someone to pick a card and suddenly there it is, the correct card, in lights on the side of a building. Wondering whether this would work for someone in the cinema audience, I also chose a card – and there it was in lights, the card I chose. How could this be? Did the shuffler hold this card just a little longer so that it attracted attention? I still don’t know, but that’s what happened. Woody Harrelson is in fine form as a mentalist and hypnotist and his first demonstration is very good, embarrassing an unfaithful husband. Isla Fisher is a Houdini-imitator, struggling to get free before piranhas are dropped into her tank. This one we can all work out. Dave Franco does tricks on ferries but is good at stealing wallets.

There is a lot of talk about magic throughout the film, about not too much concentrating, about noticing, about being the cleverest in the room. A lot of this comes from Morgan Freeman as a magician-buster, with a TV show and reputation for exposing those he thinks of as second rate performers. He tries to be ahead of the game.

And there is Michael Caine was a businessman who has invested in the show, enjoying the prestige, but coming to regret it.

Once the four do their magic in Las Vegas, quite a trick, the police are after them because they have invited a member of the audience to rob a bank – and he is a Frenchman and they transport him via a helmet to France to rob his bank! The police are led by one of those obtuse detectives who think they know the answers at once and don’t notice obvious clues and are continually being upstaged. He is played by a ruffled Mark Ruffalo. Then there is the sudden appearance of the young Frenchwoman from Interpol, which occasions some anti-French remarks from the detective. Why is she there?

Plenty of showmanship in this entertaining film, but there is an exciting but implausible car chase through a crowded Manhattan, something the director, Louis Letterier (Unleashed and Transporter, as well as The Incredible Hulk and Clash of the Titans) has relished in other films.

Most audiences will enjoy the film, watching the magic – and getting some explanations. You really need NOT to know the ending when you go in, so this review is written using the magic advice of how to misdirect your audience.

1. The title and audience response, expectations?

2. The appeal of magic, tricks, sleight of hand, magic acts, the need for attention, misdirection, delight? The film and its screenplay as an example of misdirection and sleight of hand?

3. The range of American locations, the opening and New York City, the venues, the climax? The glitz of Las Vegas? New Orleans during Mardi Gras? The musical score?

4. The screenplay and the explanations of magic, the nature of attention, the initial choice of card and seven of diamonds and its appearing on the building? Audiences looking hard, or not? Clues, misdirection, revelations? The whole film as credible? Or cheating?

5. The introduction to the Four Horsemen: Danny and his cards, his arrogance, controlling? Henley’s performance, in the tank, Houdini-like, the piranha, the blood, her escape? Jack, on the boat, his tricks, stealing the wallet? Merritt and his hypnotism, as a mentor lists, the cheating man and his signature last wife, the more on winning? An engaging introduction to each character?

6. The hooded watcher at all the events, assuming the group with the cards, the eye, the holograms of the plan?

7. A year later, Las Vegas, the theatre, vast, the crowds, trick of robbing the bank, the seat B 5 13, the Frenchman, the background of his bank, bringing him to the stage, the helmet for time travel, seemingly squashed, transferred to the French bank, the vault and the cash, the opening of the bank in Paris, the cash flying up, showering the people in the theatre? The response?

8. Arthur, the Michael Caine style character, in the audience, acclaimed as sponsor, watching, the flight to New Orleans, Danny attempting to be a mentalist, getting the details of Arthur’s character wrong, going to the performance, the tone of the performance, Arthur and his bank account, the changing cheques, onstage, chained, upset?

9. Bradley, his camera, his assistant, having two mobile phones? Watching, his television show, ratings and money? His unmasking magicians? The exposed magician and his final attempt, his death, a motivation? Bradley and his discussions with Arthur, to pursue The Four Horsemen?

10. Calling the police, the pursuit of the magicians, the problem of the French bank? Dylan Rhodes and his having the case, his loyal assistant, the officer in the office and his disdain of Rhodes? The bungling police, his not understanding what was going on, his false conclusions, the need for explanations, his quick judgments? Bumbling? His personality?

11. The arrest, the interrogations, Merritt and his mentalist taunting of Rhodes and Alma, Danny and his reversing the handcuffs? Their escape?

12. The performance in New Orleans, the audience and their bank accounts, putting their hands and the head, the huge cheque, change, $70,000, Arthur and his anger?

13. The escape, the police pursuit, Rhodes’s bug and his pursuing himself, humiliated, television?

14. Alma, Interpol, her personality, working with Rhodes, and odd couple? Her interest in the Eye of Horus? The clashes with Rhodes, his making her wait in the car, getting out and her pursuit? Her being a suspect?

15. Arthur and Bradley and the deal, Bradley following, observing, trying to be the head of the gate of hell?

16. The phone, listening, everybody moving to New York?

17. The preparation of the show, the police knowing the venue?

18. The episode with the truck, the chase, the truck with the balloons, the venue and the holograms, the police chief taking over, his certainties, the attack and the mannequins? The money falling on people? The notes with the faces of the Four Horsemen?

19. The house, the burning of the documents, escaping through the chute, Rhodes following, Jack, in the car, chase through Manhattan, the bridge, the crash, Jack’s death?

20. The final performance, the disappearance?

21. Bradley, with Rhodes, in the cell? The revelation of what had happened? The explanation of all the tricks and magic, especially Jack in the crash? The film showing all the detail of how this was done?

22. Rhodes, his father, child, revenge, assuming the persona, policemen, in charge of the case, yet manipulating everything? His cover and the misdirection? The humiliation of Bradley?

23. Everybody assembling in the park, shrining to Rhodes’ father, the eye in the tree, the revelation of Rhodes, and Merritt not seeing it coming? The carousel and the ending?

24. And the romantic touch the and with Alma and Rhodes?

25. A satisfying entertainment, the action, the magic, the explanations? For each of The Four Horsemen, interesting personalities, and the wit and repartee of the dialogue?