Los ilusionistas
Director:
Louis LeterrierCámara:
Larry FongMúsica:
Brian TylerReparto:
Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Dave Franco, Mélanie Laurent, Morgan Freeman, Michael Caine, Michael Kelly, Common (más)Streaming (1)
Sinopsis(1)
"Los Cuatro Jinetes" es un famoso grupo formado por los mejores ilusionistas del mundo. Durante sus actuaciones, "Los Cuatro Jinetes" llevan a cabo una serie de arriesgados atracos contra hombres de negocios corruptos, haciendo llover el dinero robado sobre su audiencia ante los atónitos ojos de un equipo de élite del FBI que les sigue la pista. (Entertainment One Films Spain)
(más)Videos (43)
Reseñas (13)
Ahora me ves... intenta hacerse pasar por un inteligente y sofisticado thriller policíaco con ilusionistas, pero en realidad es una narración bastante aburrida y mal concebida, llena de agujeros, sinsentidos narrativos y giros demenciales, Su atractivo y espectacularísimo abrigo en forma de montaje de acción, llamativos efectos visuales, montones de actores famosos y música palpitante pretende aparentemente evitar que el espectador piense en la trama. Por supuesto, probablemente sería posible hacer una película entretenida y de gran calidad sobre cuatro extravagantes hombres del espectáculo que cometen robos completamente absurdos y los disfrazan de espectáculos de magia escénica. Pero Ahora me ves... no debía haber incluido en su argumento una trama criminal completamente seria con un agente del servicio secreto que intenta investigar su caso de forma objetiva, y el personaje de un experto en magia que intenta explicarle las extrañas ilusiones de alguna manera lógica, mientras las explica en una manera, que sería completamente inviable en la realidad. Así pues, la atmósfera de la actuación de magia se echa a perder por completo en la película, ya que si bien es cierto que uno puede admirar a los magos por la destreza de sus manos y la precisión de su puesta en escena, en Ahora me ves... ambas cosas fueron lamentablemente sustituidas por megalómanos efectos de ordenador y montaje. Lo que por un breve momento crea el deseado efecto «wow», pero resta credibilidad a toda la estilización mágica.
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Es divertido y gracioso, pero más o menos promedio y tal vez un poco innecesariamente largo y lleno de giros y trucos constantes, sin embargo, el final es tan lujoso para mí que elevo mi calificación en una estrella. Y a los amantes de Francia y de París, por supuesto, les debe alegrar ver por millonésima vez el Pont des Arts y a la sonriente Mélanie.
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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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