Wanted by the FBI, the Knights – Daniel Atlas, Merritt McKinney, reviving Jack Wilder and newcomer, Lula May – prancing underground, look forward to once again tread on the stage and captivate a large audience. The opportunity is offered at the time to denounce the corrupt magnate Technology Owen homes, but proves to be a trap, which transfers them as “magic” in Macao, in the pay of the young and wealthy former Case partner, Walter Mabry, to recover a dangerously powerful chip and gain the freedom promised. But behind the curtain there is always a surprise and there’s still behind bars Thaddeus Bradley, though for a little …
a witness to the passage of the franchise leaders: Leterrier gave the governing body at Jon M. Chu, considered the right man to handle this kind with this budget. To make the vision palatable to those who have not seen the first show, the script takes the momentum from afar, from the death in water of Dylan Rhodes father federal agent and emissary of the Eye at the Knights. It is a good idea, that leaves a mark on Batman at the Dylan character, he shall require him to have to deal with long-postponed Bradley and especially urges him to prove to be the boss, be appointed because this is no longer enough. And here is the weak point of the film, not the character of Dylan, who gets along very well, but the concept. As the meeting between cinema and illusion is not an easy one, because of the nature of the two contiguous areas (for this, moreover, when it fails, it is often the most refined), the golden rule of their coexistence wants the ‘eyes have the absolute domination of the scene and the word, as far as possible, be silent. It no reproaches to the film in question to reveal the tricks, because that is an integral part of the script, and cinematic moment par excellence, but he was reproached and how the overflowing and unprovoked use of the explanation in the rest of the time.
Why hire a choreographer, director, specializing in the show action, and then force him to record monologues sedentary and useless dialogue in which all that we have just seen or are going to see must be passed back to roost? Now You See Me 2 works fine and is a source of pleasure when the number is in action: it’s on the couch Atlas, when Lula appears showing off the craft weapons; around the vault, where the team play is at its best and the dialogue is pure act, diversion; or, again, in the most visually powerful moment when the rain stops Atlas (recalling the ancient Chinese shop gimmick that the film has only framed and on which he has not uttered a word). Unfortunately, however, they are isolated moments, puffs of breath in an inexplicably verbosissimo film, which spoils for itself its potential and undoubted charm.