Now You See Me 2

Padraic Maroney READ TIME: 3 MIN.

When it came out in 2013, "Now You See Me" was a twisty, turny surprise that took viewers on a ride that seemed like a more intelligent summer release.

It took a couple years, but a continuation is being unleashed on the world. "Now You See Me 2" is looking to expand on the first film's foundation while upping the ante in terms of expectations and the stakes. Instead, they have added too much, and the film ends up suffering from diminishing returns.

Picking up less than two years after the events of the first film, "Now You See Me 2" finds The Horseman laying low and living in hiding - much to their chagrin. When they finally do get the call to re-surface, they have a new Horse(wo)man to get used to (Lizzy Caplan, replacing Isla Fisher), and have to dust themselves off. However, things go awry as they end up being kidnapped by a tech genius (Daniel Radcliffe, gleefully chewing scenery everywhere) to help him get a computer chip. They do this while trying to dig deeper into a secret organization.

Caplan is serviceable in the film, but is undeveloped beyond being a possible romantic partner to Dave Franco's Jack and having her illusion skills quickly explained in conversation. In light of recent conversations, "Now You See Me 2" becomes a textbook example of Hollywood's gender issues, as the film re-assembles the entire male cast while the two females sit this one out.

Fisher was reportedly pregnant during filming, but the character received barely a two-sentence explanation as to why she is missing from the film. Apparently, The Eye finds women as interchangeable as Hollywood, because when Henley left during the gap between movies, they just slot in another woman. Melanie Laurent's Interpol agent doesn't get any onscreen mention, and this time it is a Sanaa Lathan, who may not even officially get a name mention during the film, chasing after the band of merry thieves. With the lack of thought given to these female characters, it's obvious that screenwriter Ed Solomon (writing on his own this time out), wasn't the one writing for the female characters in the previous film.

Director Jon M. Chu takes over the franchise and implements a more schizophrenic directing and editing style than the previous one had. Acting like a kid hopped up on one too many Red Bulls, Chu might have taken this approach to distract from a plot that goes into a twisty pretzel shape and leaves plot holes the size of craters in its wake. Rather than being a straightforward caper or revenge plot, "Now You See Me 2" tries to be smarter than it actually is with too many plot twists. By the end you are left with a headache from the constant cuts and trying to make sense of the inane logic.

The ways that the quartet pulls off their illusions is really where the bread and butter of the franchise lies. Part humor and part magic, these are the scenes that make both this and its predecessor watch watching. "Now You See Me 2" offers pretty much more of the same, but with less magic this time. When they do pull off one of their tricks, the sequences are clustered together.

What doesn't work for the film is having twice as much Woody Harrelson. He's good in the role of Merritt, and given the others to play off the role suits him well. However, this time we get double the dose with the actor pulling double duty as not only Merritt, but also his twin brother. Their arguments don't have the intended comedic appeal, and it actually neuters the original character some to see him constantly being taken down by his brother.

The first "Now You See Me" was a fun film that used magic as a backdrop for a larger story. It gave the audience a little razzle-dazzle change from what is typically seen in the genre. However, in trying to tie in too closely to the first film and up the ante, the sequel begins to drown under its own weight. Never fear though, regardless of whether you like part deux, they are already developing a third film to really make all of the magic and good will from the film completely disappear.


by Padraic Maroney

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