La complicità tra cinema e televisione è la caratteristica più evidente dell'ultimo lavoro di DJ Caruso, regista approdato alla corte di gente del calibro di Steven Spielberg, Ivan Reitman ed ora anche di Michael Bay, quello di "Trasformers", qui nelle vesti di produttore per conto della Dreamworks. Padrini importanti per un film che rischiava di replicare stancamente le fatiche dei suoi mecenati e che invece pur non rinnovando il genere, perché "Sono il numero quattro" è il classico film di fantascienza in cui un manipolo di eroi tenta di salvare il mondo da una possibile invasione aliena, lo rinfresca utilizzando format che appartengono all'universo romantico sentimentale dei teenagers di mezzo mondo: stiamo parlando di serie televisive del tipo "The O.C", "Beverly Hills 90210" e via dicendo, exploring the universe that they encode youth trends and new patterns of behavior. A dichotomous world in continuous shuttling between institutionalized forms of aggregations such as family, the place of reason and common sense, and the school, the training area where you decide the fate of the youth, would say if it is true of all humanity that the final battle between good and bad happen in high school football field, and a sense of alienation in such events seems to be the key to effectively explore the area of \u200b\u200bfriendship and love.
It is precisely for this propensity to heart the story of the film, in the wake of a product as "Twilight" and can read the saga of vampires with the tools of a novel appendage, thereby creating the conditions for participation that does not stop but wonder comes to engage the emotions.
So after the opening scene as cruel as the script starts a spectacular sort of work to the sides of the viewer, first dipping it in hushed and dreamy atmosphere of an American province surrounded by nature and whose life and solar promises american dream are evident in the alchemy of two witnesses intended to reiterate an image of prosperity, family atmosphere and the other scatters clues about the type of "the darkness is approaching, here is the contact result of an approach continually postponed yet inexorable, with sudden removal of color to promote a dense dark omens and narrowing the field to make sense of a situation with no way out. On the one hand
evil with its signs of death, tattooed faces and coats blacks, similar to those worn by the Nazi hierarchy, on the other face of America with its good sides and washed clothes in a hallway are calculated other signs of a functional to Manichaeism, a history that admits of no middle ground. Using artificial colors
useful to emphasize the fairytale of a story that keeps you away from any form of realism and supported by a well-oiled script (the script is the same authors of Smallville) Caruso films with ease, creating suspense clockwork mechanisms, where the constant re-balanced by the subtraction of certainty is typical of situations. With a modern classic of which focuses on the staging of large-scale, with shots closer to the style "long take" than to fragmented, the film rises to a film that never fails to its quality of pure entertainment.
(published ondacinema.it )
