REVIEW: Now You See Me

Now You See Me joins the ranks of films such as The Illusionist and The Prestige as films about magic and deception, whose intentions are to deceive and manipulate the audience's expectations with a clever narrative. However, while The Illusionist and The Prestige are the proud destriers and palfreys in the stables of storytelling, Now You See Me is the lame rouncey, trying to keep up with the big boys but instead falling at the second hurdle, breaking both its legs and dying a miserable, drawn-out death. Alright, perhaps that's a little harsh, but (all Middle Ages horse references aside) while Now You See Me is a very stylish film, it lacks any of the depth which made previously mentioned films about magic so compelling.

The film starts promisingly enough by introducing four (seemingly) main characters into the mix - Jesse Eisenburg's fast-talking street magician, Dave Franco's cruise ship hustler, Isla Fisher's sexy stunt artist and Woody Harrelson as Woody Harrelson - who are all drawn together by a mysterious calling card. Yet before we've even learnt these characters' names, we're whisked away one year into the future, where the magicians (dubbed "The Four Horsemen") put on a flashy, CGI-filled show where they rob a bank. Due to the fact that this is generally frowned upon by conventional authority, the foursome is arrested, and in comes Mark Ruffalo's cliché cop who just doesn't have time for magic. "Great", we think. "This guy's going to be made fun of throughout the film for his blind arrogance and refusal to accept that the clever magicians are thinking ahead every now and then. I can't think of anyone more deserving."

And then you realise - horrifyingly, I might add - that Ruffalo is the protagonist of the film. Yes, that's right, you're supposed to be rooting for this guy to change his silly ways and open his mind to magic. To rub salt into the wound, Ruffalo is assigned a French Interpol agent - played by the usually rather good Melanie Laurent - as his partner. Again, that's correct - Ruffalo must now also learn to get along with this strange, foreign person too if he's to ever catch the culprits. Oh, Mark, why won't you listen to her telling you about some ridiculous secret magic cult called, of all things, The Eye? Why won't to recognise that some magician who drowned all those years ago is relevant? Why Mark, why?

Well, to be fair, he might listen if Laurent's character wasn't so dreadfully annoying. The writers of this film seem to have never met a French person before, so Laurent is forced to spout all manner of ridiculous dialogue. At one point, while arguing with Ruffalo she literally quotes a proverb about mountains. In French. Which she hastily translates to avoid American audiences falling asleep. And the "romantic" scenes are simply dire. "I guess this is it" mumbles Ruffalo as money flies around them. "Is it?" croons Laurent as they delicately kiss. My word, I can already hear the Oscars rolling in.

The problem I have with this film is that it all feels so fake. If these magic tricks are so plausible then why is CGI being used everywhere? How the hell did four simple tricksters manage to persuade rich, selfish businessman Michael Caine to fund them? Why is Morgan Freeman wearing a stupid hat? Another problem is the characters. I've already expressed my distaste for the aforementioned stupid buddy-cop duo, but the characters of the Four Horseman get on my nerves as well. Considering how prominently the ragtag group of magicians were featured in the advertising for this film, you would have thought that they'd at least have some personality traits attached to them. But no, Eisenburg is an arrogant dick people somehow find attractive and charming, Franco fails to persuade us he is anyone else but James Franco's brother, Fisher's most notable personality traits are her breasts and I'm not even sure they gave Woody Harrelson a script. Oh, and to top it all off, there's a final act twist so ridiculous I laughed aloud in the cinema (which earned me some distasteful looks to say the least).

It's by no means terrible - ignore the nagging voices in your head and you might have fun - but everything here has been done before and better, so go watch The Prestige again or something.

★★

REVIEW: This Is The End

Upon being announced, This Is The End seemed to be a very brave move by Seth Rogen and Evan Goldberg, Rogen's writing (and directing) partner in crime. With a plot summary as bold and basic as "celebrities are having a party at James Franco's house when the apocalypse starts happening", this could easily descend into what can only be referred to as "circlejerking" - making a film with friends so stuffed with in-jokes that the audience is left alienated and unamused. And, perhaps in lesser hands, this would have occurred.

However, Rogen and Goldberg have always been talented creative figures, with as many successes to their name - Pineapple Express, Superbad - as failures - The Green Hornet, The Watch. Thankfully, This Is The End belongs in the former camp, with perhaps their best project yet in terms of sheer enjoyability. By stripping away most pretences to fiction, and having every cast member play themselves, the film manages to be satirical of the Hollywood scene while remaining fun. Rogen and Goldberg have cleverly sent up practically everyone they know, emphasising existing characteristics - Rogen's excessive weed-taking, Franco's artistic integrity - and, in some cases, hilariously playing on public perception - Michael Cera's womanising coke-head is a highlight. The party scenes for the first 30 minutes or so are worth the price of admission alone.

But, oddly enough, the film does have a plot (of sorts) which relates to the title. Soon, strange events start happening, and a tense apocalyptic scene heavily thins out the star-studded cast. The remainder of the film is largely centred around Franco, Rogen, Jonah Hill, Jay Baruchel, Craig Robinson and Danny McBride's attempts to survive in Franco's house. I won't reveal what happens, only that it remains consistently funny throughout, only occasionally lapsing in momentum (typically during the CGI-heavy moments). This film won't convert those who dislike Rogen and Goldberg's writing style, but fans will experience pure, unadulterated comedy of the stupidest kind. And I wouldn't have it any other way.

★★★★