“Come in close, because the more you think you see, the easier it’ll be to fool you.”

Although we have been taught this lesson time and time again, the franchise succeeds in misdirecting its audience and leaving little breadcrumbs of clues for us to pick up. We don’t want to predict the trick; we want to be amazed.

The well anticipated Now You See Me, Now You Don’t didn’t disappoint- instead, it turns its own ten-year gap into a clever act of cinematic misdirection, reuniting the original Horsemen while using nostalgia, character dynamics, and generational conflict to pull off its most surprising heist yet.

Misdirection is the secret to magic, as we have learned through the first two films of Now You See Me. Although the first movie came out over ten years ago, its legacy and fan base has grown. In fact, the naming of the third film was both inspired and aggressively encouraged by the fan base, who passionately wanted the franchise to be brought back.

However, a ten-year gap is a difficult barrier for franchises. As seen in movies like Dumb and Dumber To and Scream 4, the gap between the movies might have made the sequel highly anticipated but the storyline epically failed. Fans were disappointed that their beloved storyline was ruined by its poor attempts to integrate the newer generation while keeping old characters for bits of nostalgia. There have been successes with age gaps, like Basic Instinct 2 and Indiana Jones and the Kingdom of The Crystal Skull which boomed at the box office and are frequently the favored films of their franchises. Historically, ‘requels’ which work as a hybrid of a sequel and a remake, are risky chances. It’s a gamble on how audiences will respond to the once beloved franchise continuing, especially after so long.

When it comes to this magic show, the ten-year period works as a beautiful piece of misdirection. The film emphasizes the reunion of the four original horsemen J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson), Henley Reeves (Isla Fisher), and Jack Wilder (Dave Franco) and the fifth, Lula May (Lizzy Caplan) and contrasts the difference between them and the new generation of magicians; June Rouclere (Ariana Greenblatt), Bosco Leroy (Dominic Sessa), and Charlie Vanderbilt (Justice Smith). The chemistry between the original cast comes back almost seamlessly with McKinney’s humor and Atlas’s witty egoism.

The challenge between them and their newer counterparts creates humor that distracts the viewers from the bigger plot, the real magic trick. We are supplied with information about Bosco, who’s dry humor battles against Atlas, and we learn the heartfelt story of his childhood and his found family. Our focus turns to him and his story as he tries to prove himself to Atlas.

It’s a beautiful sentiment, that the three new protagonists aren’t just magicians, but humans with their experiences and their strong bond. The characters are willing to risk their own lives to pull off a trick but unwilling to sacrifice the lives of their found family. This makes the stakes even higher for their big finale.

Seeing familiar faces is always distracting. It brings a state of nostalgia to the screen to see Dave Franco’s brilliant charm as Jack Wilder and Isla Fisher as the iconic Henley Reeves who hasn’t been in the franchise since the first film. Audience reactions increased by the sight of Morgan Freeman continuing his role as Thaddeus Bradley and Mark Ruffalo’s cameo at the end as the unforgettable Dylan Rhodes.

The twist comes at the end, as it always does in these movies, but it’s not only a surprise to the audience but also to the horsemen. The irony of the original magicians being misdirected from a generation that was inspired by them is beautifully humorous.

Although Atlas tells us time and time again to look close but not too closely, we still fall for the illusion of being smarter than the film. But that’s what you pay for at a magic show: magic.

Ultimately, the film proves that even a decade later, this franchise still knows how to captivate its audience through the art of misdirection.