REVIEW: Now You See Me: Now You Don't (2025 Film) - Starring Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Lizzy Caplan and Morgan Freeman

Review by Jon Donnis

Ruben Fleischer's 2025 heist film, Now You See Me: Now You Don't, reunites the original Four Horsemen while introducing a new trio of young illusionists, Charlie, Bosco, and June. Using holograms and deepfakes, the newcomers impersonate the Horsemen to carry out daring heists before joining forces with the originals to take down Veronika Vanderberg, a South African diamond heiress involved in laundering money for criminals. The story spans Antwerp, a château in France, and the Yas Marina Circuit in Abu Dhabi, blending family secrets, personal revenge, and high-stakes magical trickery.

The film is visually energetic and chaotic. The heists are elaborate and colourful, with Fleischer keeping the pace brisk and the spectacle constant. Combining the original cast with new performers injects energy, particularly in scenes where the older Horsemen mentor or intervene. For casual viewing, it works well as a light, entertaining popcorn film that can fill a festive evening without demanding full attention.

On the other hand, the plot is weak and largely predictable. The story relies heavily on CGI, which reduces the sense of cleverness in the heists and trickery. Dialogue often feels forced or unnatural, and while the younger magicians are central to the action, they struggle to be engaging. The original cast are underused, with their talents largely sidelined, and the narrative is cluttered, likely a result of having too many writers contributing to the screenplay.

There are moments of fun in the interplay between characters, especially when the past failures of the Horsemen are referenced or old rivalries resurface. The attempt to pass the torch to the younger magicians adds a sense of continuity, although it sometimes feels like it is stretching the story rather than enriching it. Key sequences, including the final heist and twist involving Charlie, offer spectacle but do not have the same cleverness or charm that defined the first film.

Now You See Me: Now You Don't is a colourful and occasionally enjoyable adventure, but it lacks the ingenuity, cohesion, and charisma of its predecessors. It provides light entertainment, with some fun set pieces and magical sequences, but the weak plot, predictable story beats, and underdeveloped new characters make it a disappointment for fans of the franchise. I would give it a 6 out of 10.

Out Now on Digital

Apple TV - https://apple.co/3MPbsQg

REVIEW: The Roses (2025 Film) - Starring Benedict Cumberbatch and Olivia Colman

Review by Jon Donnis

Jay Roach's The Roses is a sharp, 2025 reimagining of Warren Adler's novel and a remake of the 1989 film. At its centre are Theo and Ivy Rose, played by Benedict Cumberbatch and Olivia Colman, whose picture-perfect marriage slowly unravels. The film trades in domestic chaos, escalating cruelty, and the bitter humour that comes from watching a couple dismantle each other's lives.

Where it really works is in the performances. Cumberbatch and Colman are magnetic, effortlessly balancing humour and menace. Watching them go to extremes to torment each other is both shocking and strangely charming. The chemistry between them makes the first two-thirds of the film a delight, as their playful banter and petty battles over parenting and career jealousy feel very real. There are genuinely funny moments sprinkled throughout, and the film nails the absurdity of modern marriage with surprising precision. Divorce has rarely looked so entertaining.

The humour lands well, especially in the domestic squabbles that feel familiar to anyone with kids or a busy household. Andy Samberg and Kate McKinnon as friends add light, unpredictable moments that break up the tension without ever feeling over the top. These scenes balance the chaos with everyday reality, keeping the audience engaged throughout.

But the film is not without flaws. By softening its comedy as not to offend the woke crowd, it loses some of the bite that made the original so memorable. Moments of nastiness feel restrained, and the escalation of cruelty, while entertaining, never fully shocks or surprises. It is entertaining, but it does not linger. Compared with the 1989 film, it is simply not as daring or memorable. The storyline sometimes feels safe, even when the plot allows for darker comedy.

Despite these limitations, The Roses is a solid one-time watch. It provides enough laughs to justify sitting through it, thanks largely to the leads' strong performances. It balances the ridiculous with the relatable, making the central relationship fascinating even at its most vicious. The movie knows when to be chaotic and when to be tender, but it never fully commits to the darker satire it hints at.

The Roses delivers on performance and comedy but plays it safe with the dark humour. A decent watch, enjoyable and entertaining, but unlikely to stay with you after the credits roll. I score The Roses 7 out of 10.

Out Now on Apple TV

https://apple.co/3UZSuqR

PREVIEW: The End of It (2025) - Sci-Fi Drama Tackles Immortality and Meaning in the Near Future

Images: Premier PR
Photographer credits:
Rebecca Hall – Andres Arochi
Gael Garcia Bernal – Nino Muñoz
Noomi Rapace – Lenita Visan
Beanie Feldstein – Heather Hazzan

By Jon Donnis

Production is underway on The End of It, a thought-provoking new feature film co-produced by THE MEDIAPRO STUDIO US & Canada and BBC Film. The project marks the feature debut of writer-director Maria Martinez Bayona and stars Rebecca Hall, Gael García Bernal, Noomi Rapace and Beanie Feldstein in a near-future story that blends dark comedy, emotional family conflict and science fiction.

Set in a world where ageing has been cured and death is no longer a necessity, the film follows Claire (Hall), a once-provocative artist approaching her 250th birthday who has decided that enough is enough. Her wish to die sends ripples through her unconventional family: her husband (García Bernal), her daughter (Rapace) and the family’s AI assistant (Feldstein). As Claire reclaims her identity through one final act of creation, the story becomes a meditation on what it truly means to be alive in a world where death is optional.

Bayona’s script poses big existential questions with a tone that is both humane and absurd. "This film asks a question: what would it mean to go on living forever? But more importantly – what does it mean to feel alive?" she said. Drawing on personal experience and philosophical ideas, Bayona aims to create a film that challenges and connects in equal measure.

The film is being shot on location in the Canary Islands, with production beginning in April 2025. The End of It brings together a team of award-winning creatives. It is produced by Emilie Jouffroy and Kamilla Kristiane Hodøl for Elation Pictures (The Damned), Adrià Monés Murlans for Fasten Films (Inside the Yellow Cocoon Shell), and Laura Fernández Espeso for THE MEDIAPRO STUDIO. Dyveke Bjørkly Graver and Andrea Ottmar Berentsen also serve as co-producers for Eye Eye Pictures (The Worst Person in the World).

Developed with support from BBC Film and the iFeatures programme, the film explores legacy, family, autonomy and the weight of eternity, set against a sleek futuristic backdrop. With its cast of acclaimed international talent and a fresh directorial voice, The End of It looks set to become a notable entry in the expanding canon of intelligent, emotionally charged science fiction.

More information and release dates will be announced in due course.