Now You See Me: Now You Don’t has a South African Uys up its sleeve

If you regularly watch movies, you’ll have one guilty pleasure. Something you know is flawed but which you nevertheless think of fondly; something you may even consider a favourite. Evidently for a lot of people that includes 2013’s Now You See Me, and maybe even its hard-to-find 2016 follow-up, Now You See Me 2.

The first two Now You See Me films brought something fresh to the table in terms of on-screen heist capers. Suddenly it was stage and street magicians working together to pull off the complicated thefts, using their skills to elude the authorities as their Robin Hood-esque exploits redistributed the wealth of the corrupt rich to the people.

Adding to the razzle dazzle, Now You See Me’s band of Four Horsemen were played by the impressive ensemble of Jesse Eisenberg, Woody Harrelson, Dave Franco and Isla Fisher, with Lizzy Caplan subbing out Fisher in 2. They were in turn supported by Morgan Freeman, Michael Caine and Mark Ruffalo.

Films with a cast like that couldn’t possibly be bad, could they? On closer examination, though, the original Now You See Me squandered its potential, maintaining its focus in Ruffalo’s harried FBI agent instead of the Horsemen, who were frustratingly kept at arm’s length as characters – all so that the filmmakers could subject the audience to twists that were clearly supposed to feel Christopher Nolan clever, but mostly resulted in migraines.

Now You See Me 2 did a better job at putting the Horsemen centre stage, but was even more clunky and convoluted in terms of plot.

And yet, despite being so middling, the original Now You See Me films were box office hits, and have a loyal following. It simply took nine years to revive the franchise, mirroring the disappearing and reappearing act of its lead characters.

Barring the retired Caine, new release Now You See Me: Now You Don’t brings everyone back in some form or another. It also injects fresh blood into proceedings in the form of a new generation of illusionists played by ascendant Hollywood talent. There’s Justice Smith’s behind-the-scenes planner Charlie, Dominic Sessa’s moody impersonator Bosco Leroy, and Ariana Greenblatt as parkour and sleight of hand expert June.

For reasons beyond anyone’s comprehension – including Eisenberg’s Atlas, who has been sent to recruit them by magical secret society The Eye – the trio has been chosen for a new heist: stealing the world’s largest diamond from South African mining magnate Veronika Vanderberg (Rosamund Pike), whose family uses their product sales to launder funds for criminal organisations, warlords, dictators and other terrible people. Evidently we can thank Elon for making South Africans pop culture villains again.

Now, don’t for one second think that Now You See Me: Now You Don’t is a good movie. However, it is fun, and it’s definitely the best in the Now You See me film series to date – coming across as Ocean’s Eleven meets National Treasure, with a hefty sprinkling of Mission: Impossible.

Director Ruben Fleischer, who helmed the Zombieland movies, Uncharted, and the first two Venom entries, ensures the breezy outing is packed with puzzles, visual illusions, disguises and globetrotting to various glamorous locations.

Meanwhile, South Africans should have a blast spotting the localisms. It’s not every day you watch something where characters drop a “jislaaik” and “shame” in conversation, or open a voice-modulated blackmail call with “howzit”.

Then there’s the jaw-dropping accent of Pike, which rockets her to the top of the elite “Foreigners Who Can Do South African Accents Well” list, alongside Andy Serkis. Her Veronika is so convincingly voiced, you’ll swear she spends her downtime at tashas Bryanston, questioning the menu.

The trio of Smith, Sessa and Greenblatt are also a welcome addition to proceedings, and at times it feels like the film would have been better if it only starred them. With their found-family dynamic and loyalty to one another, they’re a lot more likeable than their counterparts on the other side of the film’s generation gap, which is frequently prodded for comedic effect.

Franco and Fisher are fine – and I won’t spoil a further standout cast member – but Eisenberg’s Atlas remains insufferably judgemental and controlling, while Harrelson’s mentalist Merritt McKinney constantly makes jokes about drinking himself to death, which is a bit of a bummer. They do, however, fare better than Freeman, who appears tired and is forced to deliver the worst, most stilted dialogue in the film.

Ultimately, the more things change, the more they stay the same with this franchise. The Now You See Me movies have always punted the message, “The closer you look, the less you see”, and that’s a mantra best adopted by viewers as well, so you don’t get distracted by the implausibility, sometimes even stupidity, of certain events, especially the inevitable late-game plot twists.

It’s best to just go along with the fast-paced and high-style silliness. And, if you’re South African, appreciate Pike in every one of her scenes. DM

Now You See Me: Now You Don’t is in cinemas from 14 November. This review was first published on PFangirl.