Now You See Me: Now You Don’t – The BRWC Review
Nearly a decade after the last entry, Now You See Me: Now You Don’t arrives as both a continuation and a revival—an ambitious third chapter that leans confidently back into the series’ signature blend of grand-scale illusion, glossy heist spectacle, and twisting narrative design. With Ruben Fleischer taking over directing duties and a screenplay powered by Michael Lesslie, Paul Wernick, Rhett Reese, and Seth Grahame-Smith, the film positions itself as both an evolution and an homage: a story about the legacy of the Horsemen, the allure of trickery, and the cost of pursuing justice with smoke and mirrors.
Returning cast members Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Lizzy Caplan, and Morgan Freeman reunite with surprising energy, but the film’s biggest spark comes from its trio of newcomers—Justice Smith, Dominic Sessa, and especially Ariana Greenblatt—who play the next generation of magicians thrust into the Horsemen’s orbit. Their dynamic injects vitality into a franchise that previously risked feeling tapped out.
Fleischer’s direction is perhaps the film’s greatest immediate asset. Unlike the sometimes scattershot visual energy of the second installment, Now You See Me: Now You Don’t feels more controlled and confident. The magic sequences—always the franchise’s selling point—are choreographed with showmanship and surprising intimacy. The camera doesn’t just sweep; it lingers, letting the audience admire the mechanics of sleight of hand before the inevitable flourish.
The film excels when blending physical illusions with digital-age trickery. Holograms, deepfakes, and technologically sophisticated misdirection elevate the narrative in ways that feel logical for a 2025 installment rather than a retread of past tricks. Fleischer uses these elements to craft sequences that are often funny, occasionally tense, and consistently enjoyable. It’s the closest the series has come to recapturing the freshness of the 2013 original.
The screenplay, meanwhile, is dense with moving parts—sometimes to its benefit, sometimes not. With multiple characters, shifting allegiances, a new antagonist, and a multi-stage heist involving “The Heart,” the world’s largest diamond, the story often veers toward overcomplication. But the writers anchor the narrative in momentum, ensuring the film always feels like it’s progressing toward a larger reveal even when the plot feels over-packed.
Jesse Eisenberg once again plays J. Daniel Atlas with his trademark jittery ego and sharp comedic timing. The film gives him less emotional weight than in previous entries, but it does allow him to evolve into a reluctant mentor figure, an enjoyable dynamic—especially opposite Justice Smith, who brings understated charisma as Charlie, a gifted young illusionist whose intellect and attitude make him instantly compelling.
Woody Harrelson delivers the franchise’s broadest humor as Merritt McKinney, refining a character who could easily skew cartoonish but remains grounded through Harrelson’s impeccable timing. Dave Franco and Isla Fisher comfortably fall back into their roles, and seeing Fisher return after her absence in the second film lends the ensemble a welcome sense of continuity. Lizzy Caplan also remains an irreverent delight, even if the script gives her fewer standout comedic beats this time.
Morgan Freeman’s presence lends the film a gravitas it doesn’t always earn, though his character is used more sparingly and more meaningfully than before. Without Michael Caine, whose retirement leaves a noticeable absence, the film pivots Freeman into a connective tissue between eras of the franchise, and it’s a surprisingly elegant choice.
Among the newcomers, however, one performance truly leaps out: Ariana Greenblatt. As June, the youngest of the new magicians, Greenblatt radiates quick wit, confidence, and emotional grounding. Even amid chaotic set pieces and a large ensemble, she commands attention. There’s a thrill in watching her character think through illusions in real time, and she brings a layered vulnerability that enriches the film far more than expected. It’s a breakout turn in a cast full of charismatic veterans.
Dominic Sessa is also strong, offering a dry, moody contrast to Smith and Greenblatt, though his role feels slightly underwritten in comparison. Still, the chemistry among the three newcomers hints at franchise longevity if Lionsgate chooses to continue.
The Now You See Me films have always been built around narrative misdirection, and this one is no different. The heist in Antwerp, the illusions inside the mansion in France, and the high-tension climax in Abu Dhabi form the backbone of the story, and each is executed with showmanship. Yet the film sometimes feels almost too eager to outsmart itself. For viewers who relish puzzle-box plotting, the structure will feel rewarding; for those looking for a more emotionally cohesive throughline, the constant pivots may dilute investment.
That said, the film does a strong job of making the audience feel involved. Fleischer’s direction favors sequences where characters verbalize their planning in tandem with visual demonstrations. This allows the viewer to appreciate how the illusions work without feeling talked down to. It’s a balancing act the second film struggled with, and it’s gratifying to see it corrected here.
Some narrative beats are weaker, particularly the villain setup. Rosamund Pike brings polished menace to Veronika, but the script never gives her enough dimensionality to match the charisma of the protagonists. Her motivations feel generic, and the film could have benefited from exploring her psychology with more nuance.
The emotional stakes also lack cohesion. There are hints of grief, betrayal, and moral ambiguity, but these threads never fully develop. Instead, the movie relies on kinetic energy and charismatic performers to carry it along—and for the most part, they succeed.
The production design is sleek, leaning into glowing neon palettes, elaborate sets, and optical illusions that feel tactile and exciting. The editing is crisp but not hyperactive, allowing the audience to appreciate the choreography of both magic and movement. The score blends playful mischief with propulsive beats, complementing the film’s showman-like spirit.
One of the strongest elements is the film’s commitment to practical effects. While CGI assists in executing futuristic illusions, Fleischer emphasizes physical trickery wherever possible. This gives the film a texture that the second installment lacked and helps bridge the gap between old-school magic and modern movie spectacle.
By the time the credits roll, Now You See Me: Now You Don’t has successfully reasserted the franchise’s identity: fun, stylish, twist-heavy entertainment propelled by personality and performance. It doesn’t aim for thematic depth or emotional resonance, and its plot can feel overextended, but it delivers engaging, inventive escapism.
Most significantly, it introduces a new ensemble capable of carrying the story forward. Justice Smith, Dominic Sessa, and Ariana Greenblatt—whose electric presence is the film’s standout component—give the series a youthful jolt that may define its future.
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