PLOT aliens exist and are fighting a war underground and invisible (unless it destroys school facilities ) for canceling each other out. The two races are, there are loreniani, in all respects like us, fled from their home planet and mogadoriani, like us, but most monstrous, that after the first colonized the planet's now hunt on Earth.
mogadoriani The survivors are killing the planet Lorien, and they do it in a specific order: first the number one, then number two and so on. Whenever one of them dies the other loreniani feel the event and will light a tattoo on their body. Dead number three, number four knows it's his turn came, fortunately on a day of school like other discovers he has powers that allow him to defend himself. Based on the homonymous book of
Pittacus Lore (aka joining the pen of James Frey and Jobie Hughes) DJ Caruso takes shoulder the burden of directing a script that is not ashamed to draw on his hands for the past 30 years of film legends, with the sole purpose of creating a new franchise at the table.
Yet I'm the number four seems to have more in common with those films that have become legends (though they wished fervently) as a jumper or The Sorcerer's Apprentice, rather than those who are now. After
be able to make an unofficial remake of Rear Window, Disturbia as a small jewel of rhythm and fun, DJ Caruso directed a string of interest-free meetings and clashes between aliens (the good guys like the most beautiful of humans, monstrous evil), forgetting to find a key personale di messa in scena. Sono il numero quattro è un film senz'anima e senza personalità, un puzzle di ottimi pezzi che una volta uniti non mostrano una figura nuova. Mescolato nel mare di prodotti simili, in cui adolescenti fuori dalla norma si innamorano di adolescenti nella norma e insieme cercano di trovare una dimensione per se stessi contro un destino avverso, Sono il numero quattro si confonde fino a sparire. Privo di qualità che lo facciano spiccare e privo di un'idea estetica che lo identifichi agli occhi del suo pubblico (come il plumbeo pallore di Twilight o il contrastato mondo blu scuro di Underworld) quest'ennesima variazione sul tema supereroistico sembra destinata al dimenticatoio.
Da figlioccio artistico di Spielberg, quale ha dichiarato and proved in the past, Caruso seemed to have the credentials to interpret the spirit of today's best film Spielberg: the union between business needs and aspirations (both the author and the public). But everything sinks in front of the empty sound of whirling and are number four. One day
rethink laughing at this period film made of sagas at all costs.
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