Title: Now You See Me: Now You Don’t
Director: Ruben Fleischer
Cast: Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, and others
Where: In Theatres
Rating: 3 stars
The third chapter of this conjurer’s carnival arrives with the confidence of a veteran performer who knows the audience will clap, even if out of habit. The film expands its magical circus into a crowded tent of returning icons and energetic Gen Z apprentices, a choice that gives the plot breadth but not always breathing room. The classic Horsemen swagger back into the spotlight, only to find their old trick manuals enthusiastically remixed by three new illusionists who believe activism pairs well with cardistry.
The central heist, orbiting a diamond large enough to anchor its own continent, provides the narrative spine. Around it swirl holographic misdirections, philosophical sniping between generations, and enough subplots to fill a magician’s hat with excess rabbits. The film maintains an undeniable energy, yet it occasionally stumbles under the weight of its own exuberance. Just when the action gathers pace, another twist jumps out like a restless jack-in-the-box demanding attention. Still, despite the narrative traffic, the spectacle remains enjoyable, particularly when the film leans into its playful chaos.
Actors’ Performance
The veteran ensemble slips back into its roles with practised ease. Jesse Eisenberg returns as J. Daniel Atlas with sharpened gusto, delivering his signature blend of arrogance and quicksilver wit. He treats every scene like a verbal fencing match, particularly when sparring with Woody Harrelson, who once again leans into Merritt McKinney’s impish mentalist charm. Dave Franco brings an agile, streetwise energy to Jack Wilder, while Isla Fisher reclaims Henley Reeves with buoyant confidence, proving she can still escape from both tanks and narrative tight corners.
Among the younger recruits, Justice Smith plays Charlie with a quiet sincerity that grounds the more frantic antics around him. Dominic Sessa infuses Bosco with brooding competitiveness, while Ariana Greenblatt’s June stands out with her nimble pickpocket flair and spirited problem-solving.
Rosamund Pike is deliciously formidable as Veronika Vanderberg, wielding villainy with elegance and relish. Her performance feels like a masterclass in controlled theatricality, effortlessly stealing scenes from the ensemble with a single glacial stare or precisely timed smirk.
Music and Aesthetics
Visually, the film packs in enough illusions to fuel an entire season of reality (TV magic competitions). The highlight is a labyrinth of trick rooms at the Eye’s former headquarters, a sequence designed with gleeful excess and a clear desire to out-Nolan, Christopher Nolan.
The soundscape stitches together adrenaline-heavy beats with sleek orchestral swells. The music occasionally competes with the action for dominance, but it certainly keeps the pulse brisk. Exotic locations, sharp lighting, and glossy production design provide a global sheen, though the constant hopping between cities can feel like a travel reel curated by an overexcited intern.
Final Verdict
The film is a colourful, chaotic, enjoyable escapade: some polished, some puzzling, many knowingly overstuffed. Its charm lies not in narrative sophistication but in its unabashed commitment to spectacle. Long-time fans will appreciate the familiar rhythm, while newcomers may enjoy the cheeky irreverence the younger cast brings. The film may stretch itself thin, but it never stops entertaining. If magic is the art of distraction, this instalment certainly keeps the eyes busy, even if the mind occasionally wanders.
