Realização:
Louis LeterrierCâmara:
Larry FongMúsica:
Brian TylerElenco:
Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Dave Franco, Mélanie Laurent, Morgan Freeman, Michael Caine, Michael Kelly, Common (mais)Streaming (1)
Conteúdos(1)
NOW YOU SEE ME pits an elite FBI squad in a game of cat and mouse against "The Four Horsemen," a super-team of the world's greatest illusionists. "The Four Horsemen" pull off a series of daring heists against corrupt business leaders during their performances, showering the stolen profits on their audiences while staying one step ahead of the law. (texto oficial do distribuidor)
(mais)Vídeos (43)
Críticas (12)
O filme Mestres da Ilusão tenta apresentar-se como um inteligente e sofisticado thriller do crime com ilusionistas, mas na realidade é uma narrativa bastante aborrecida e mal concebida, cheia de buracos, disparates narrativos e reviravoltas estúpidas, cuja atraente e espetacular capa com grandes efeitos de edição de ação, visuais brilhantes, muitos atores famosos e música palpitante parece ter o objetivo de tranquilizar o espetador e evitar que ele pense no enredo. Claro que seria provavelmente possível fazer um filme divertido e de qualidade sobre quatro exibicionistas extravagantes cometendo assaltos completamente absurdos e disfarçando-os de atos mágicos de palco. Mas então Mestres da Ilusão não teriam podido incluir na sua história um enredo criminoso completamente sério, com um agente dos serviços secretos que tenta investigar o seu caso de alguma forma objetiva, e o carácter de um especialista mágico que tenta explicar-lhe as ilusões bizarras de uma forma lógica, enquanto as explica de uma forma que seria completamente impraticável na vida real. A atmosfera da atuação mágica é, portanto, completamente estragada pelo filme, porque embora se possa certamente admirar os mágicos pelas suas mãos ágeis e precisão de encenação, em Mestres da Ilusão ambos foram, infelizmente, substituídos por truques megalómanos de computador e edição. O que, por um breve momento, produz certamente o desejado efeito «uau», mas diminui a verosimilhança de toda a estilização mágica.
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I sat down and let the deception and magic take over and enjoyed it. I really did. It had momentum, it had interesting characters, and I was just waiting to see how it culminated. And it did, beautifully, leaving some viewers slightly dissatisfied. A nice film that managed to surprise me halfway through. I'm curious to see the sequel, hopefully it will be at least as entertaining as this film.
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A very complicated, but at the same time quite imaginative story. And the actors are the icing on the cake. They exuded that kind of a magician’s arrogance and cunning with which their idea grew and fell. But I must say that it wasn’t because of all this that I gave this movie four stars. If that was all the movie had, I would have settled on two. I was totally confused by the story. I, however, enjoyed the way this film was made. The director clearly put a lot of effort into this, to show this project was a dream come true for him. But the best and most beautiful thing about this movie was Mélanie Laurent. I could watch her all day. And if the magicians had chosen her for the disappearing act, I would’ve written an indignant letter all the way to Hollywood, demanding an explanation. Fortunately, she showed all of her French elegance and grace to my complete satisfaction. It’s evident that the director, who is also French, is aware of Melánie’s charm. So even though the movie has its flaws, it also deserves praise. As a result, I was satisfied and now I’m looking forward to a sequel.
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A heist movie from which someone stole the logic. The quintet (!) of screenwriters tried to outsmart viewers, but the gentlemen wound up outsmarting themselves. The necessary extent of viewers’ incredulity that better films about scams consciously work with has been exceeded many times over in Now You See Me. Not even the illusionists can be believed, as they act in conflict with the initial presentation of their characters after a jump in time (we don’t learn much more about them during the rest of the film), nor can their tricks, because they are mostly conjured up with CGI, which breaks the bond between their feats and reality. The magic shows are basically just an excuse for drawn-out and poorly edited action scenes. The weak final justification for the meaning of each of the performances is just another of the countless attempts at misdirection, specifically the effort to evoke the impression that each of the shows was something more than an autonomous attraction. Perhaps this is part of a well-thought-out whole governed by rules that don’t change on the fly and whose individual parts are not connected using a confounding number of coincidences and assumptions that a particular person will only react to a particular situation in one particular way and not another. The final twist robs the film of any remaining shreds of logical coherence. No, I didn’t seriously expect such an ending, because it lacked any logic in relation to the preceding 100 minutes. Instead of the feeling that I had been cleverly outsmarted (the wow effect), there was bitter laughter at someone’s ability to sacrifice all of the story’s believability and meaningfulness to the God of Surprise (the WTF effect). Every narrative device serves to deceive viewers to such an extent that we are constantly aware of the film’s falsity, so its conjuring tricks just don’t work. The Prestige was based on a quite similar principle (we will reveal the rules of the game to you and then we will outfox you anyway), but in that film, the trick was underpinned by the preceding two hours of action. In Nolan’s film, the twist wasn’t conjured up out of screenwriting cluelessness just before the end only so that film could somehow be concluded. In Now You See Me, it is – starting with the way it’s stated in the film’s title – too obvious that we are the intended marks. Something like that might work in Copperfield’s live show, but in a live-action feature film, it ultimately causes the film to retroactively lose meaning because it comes off as just an illusion. The actors also do a utilitarian job. Most of them were cast solely to raise the film’s level of prestige and to serve the same decorative and distracting purpose that one of the characters attributes to a magician’s attractive assistant. Louis Leterrier himself is just such an assistant, but he’s an assistant without a magician. He diligently diverts our attention so that in the end he can artlessly concede in the end that the main content of his performance was the actual act of distracting us. Appendix: The most ridiculous thing is the attempt to shoehorn criticism of unjust social conditions (an apparent echo of Occupy Wall Street) into Now You See Me, a film that defends scam artists and punishes those who bring attention to the scam. 40%
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Such a fast, dynamic, and perfectly deafening ride that I had to struggle to pull out grains of detachment and keep from giving it the highest possible rating. This gang firmly counts on the fact that the audience is willingly letting themselves be led astray, only to later admire the resulting denouement with nothing short of awe. And because Louis Leterrier is a damn skillful puppeteer, I won't let my minor criticisms about the reveal and the slower pace of the second half sound too loudly.
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