NOW YOU SEE ME

Sunday Tasmanian - Tassie Living - - MOVIES -

Jesse Eisen­berg, Woody Har­rel­son, Isla Fisher, Dave Franco, Michael Caine.

Louis Leter­rier (

Stars:

Di­rec­tor:

PAY close at­ten­tion to one cru­cial line early on in Now You See Me. Then feel free to di­rect your at­ten­tion else­where. “The closer you look, the less you see,” re­veals At­las [ Jesse Eisen­berg], a pro­fes­sional il­lu­sion­ist who spe­cialises in the fi ne art of mass mis­di­rec­tion.

Sure, this slick’n’slip­pery heist movie might get more ridicu­lously il­log­i­cal with each pass­ing minute. Nev­er­the­less, there can be no deny­ing it is tremen­dous es­capist fun through­out.

A mys­te­ri­ous hoodie- wear­ing fi gure has as­sem­bled an A- team of mav­er­ick ma­gi­cians for a stage show that swiftly takes Las Vegas by storm.

Billed as The Four Horse­men, the quar­tet are at their best when mess­ing with the minds of au­di­ences nightly. Of a day­time, they’re at each other’s throats.

At­las is all ego, all the time. He’s an an­noy­ing guy who is also eas­ily an­noyed, a trait his fel­low Horse­man ex­ploit at ev­ery op­por­tu­nity.

His for­mer as­sis­tant Hen­ley ( Isla Fisher) is now an ac­com­plished es­cape artist, a hubba- hubba Hou­dini that brings the guys in.

Mer­ritt ( Woody Har­rel­son) is an elite men­tal­ist, not so much a mind- reader as a brain- drainer.

Jack ( Dave Franco) used to hus­tle a liv­ing

As di­rected by Louis Leter­rier, Now You See Me is a cin­e­matic confi dence trick ex­e­cuted with much raz­zle daz­zle, and lit­tle

re­gard for re­al­ity

’as a pro pick­pocket. He’s now the fastest sleight- of- hand man in the busi­ness.

The sig­na­ture trick of The Four Horse­men? Rob­bing a bank live on stage. In full view of their au­di­ence.

Huh? You have to see it to be­lieve it. But re­mem­ber, don’t look too closely.

Both the FBI and In­ter­pol make that very mis­take when The Four Horse­men are held re­spon­si­ble for mil­lions of Eu­ros swiped from a Paris bank vault.

The troupe did not set foot in France to com­mit the crime. They were do­ing a show at the ex­act same time. But they are not rul­ing out their own pos­si­ble in­volve­ment.

In­trigued as yet? You should be. Bet­ter still, Now You See Me is only get­ting started with HAZY retelling of a true story about a teenage crime gang that briefl y rose to no­to­ri­ety in Los An­ge­les a few years back. Th­ese high- school­ers with a taste for high fash­ion broke into the homes of style- savvy celebri­ties such as Paris Hil­ton and ran­sacked their wardrobes. Writer- di­rec­tor Sofi a Cop­pola ( Lost in Trans­la­tion) sur­veys the move­ments of the group from a safe, non- judg­men­tal dis­tance. There isn’t a lot of sub­stance to the tale the kids sim­ply did what they did be­cause they could but there is a faintly un­set­tling vibe in the air that re­mains with the viewer af­ter­wards. Stars Emma Wat­son, Les­lie Mann and Taissa Farmiga.

Now show­ing State Cin­ema

the head- scratch­ing, high- stakes crime stuff.

Quite rightly, The Four Horse­men stick to the ma­gi­cians’ code of prac­tice, and refuse to re­veal a sin­gle trade se­cret.

As di­rected by Louis Leter­rier, Now You See Me is a cin­e­matic confi dence trick ex­e­cuted with much raz­zle daz­zle, and lit­tle re­gard for re­al­ity.

That the movie gets away with it at all is largely due to a well- cast en­sem­ble ( Michael Caine, Mor­gan Free­man and Mark Ruf­falo are also part of a very busy mix) who are clearly hav­ing a grand time hav­ing a lend of us all. Al­low your­self to be com­pletely duped, and you are cer­tain to be highly en­ter­tained.

Now show­ing Vil­lage and State cinemas

A TON­ALLY er­ratic and con­sis­tently irk­some true- crime farce that plays out like a Good­fel­las for Dum­mies. Mark Wahlberg stars as a Mi­ami body­builder with a stu­pen­dously dumb get- rich- quick scheme doomed to get all in­volved ei­ther jailed or killed. The fact th­ese events ( sort of ) ac­tu­ally oc­curred buys the movie some time on a cu­rios­ity level. How­ever, some chron­i­cally mis­judged at­tempts at black hu­mour there are no laughs to be had with all the disfi gur­ing, dis­mem­ber­ing and dis­posal of vic­tims loses all good­will rather swiftly. A hand­ful of stun­ning stand- alone scenes hint a bet­ter fi lm might have been in the offi ng, but di­rec­tor Michael Bay has other ideas. Co- stars Dwayne John­son and Rebel Wil­son.

Now show­ing Vil­lage Cinemas

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