Imagine a magician.
Tall, charming, wreathed in mystery, and wearing a top hat that looks like it was woven from the shadows of ravens.
Striding purposefully to a big red box in the middle of the stage, he tells an immaculately picked anecdote, an ancient but fascinating old chestnut cleverly made contemporary, and proceeds to stuff the box with ochre and black strips of silk he peels nonchalantly out of his sleeves.
He talks of his time in the jungles. He talks of the majestic and rarely found Royal Bengal tiger, and how special it is to see one.
Especially up close.
Two shapely assistants, looking almost like twins, help seal the locks on the giant box, chained to the ground. The lights dim.
The stench of suspense fills the air. A word too magical to be typed out casually is spoken, there is a dazzling explosion and the lights come back to fuller strength than before.
The giant box shakes and the assistants look terrified. There is a deafening roar. The audience gasps. Silver of tongue, the magician enchants them all, and gets the girls to unfasten the locks. The box is lifted into the air…
And we see a rabbit.
There are few things more fundamentally disappointing than a weak magic trick. Especially when the promise is dizzying.
Louis Letterier, the man who made Clash Of The Titans, has for his new film a deck of cards tricked out with terrific actors: Jesse Eisenberg, Woody Harrelson, Isla Fisher and Dave Franco play grandstanding bank-heisting illusionists, Michael Caine bankrolls them, Morgan Freeman plays a man who debunks magicians for a living, while Mark Ruffalo and Melanie Laurent play the detectives chasing down these unique criminals.
In sum, then: the Zombieland crew with a new redhead versus The Incredible Hulk and Shosanna, the deadliest Basterd. With Bruce Wayne’s top men in the middle of it all. What’s not to love?
A lot, it turns out. The film’s premise -- that of quirky magicians assembling to form a supergroup that robs banks -- is a rollicking one, and could have been spectacular in the hands of a Brian De Palma or a Steven Soderbergh. (Assuming, of course, that Christopher Nolan, the master who made The Prestige, wasn’t in the mood.)
And while you may call comparisons with these greater filmmakers unfair, they are also
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