There are fields in which it can be stated categorically that Hollywood has run out of ideas. 'm the number four is the demonstration that the stuff of science fiction or fantasy and juvenile court are all equal. The same characters, same problems, the same development, the same enemies ... and the same claim that the adaptation of the book is the first chapter of his stories involve the beginning of a long and successful series of films. Is the price you pay for the success of franchises like Harry Potter or Twilight. A price that has made many films and is apparently identical to that I'm number four. From that, without being anything special other are more pronounced as Ga'Hoole. The legend of the Guardians Eragon or , until the horrible as The Golden Compass, through the inane as or Jumper The Chronicles of Narnia (the fiasco that is the third installment obligation to put here.) It all sounds so similar. 'm number four is more science fiction than fantasy, but the base is the same. Handsome young boys face the supposed mission of their lives with an open end. Well worth it. And the bad thing is that this is not another example of science fiction, but is that always so bored that similar traffic along different paths, far, far away from the river of imagination that showed the same gender in those distant years yearned and 80. I said that number four was a kind of Twilight of science fiction. Without having gone through the romantic-vampire saga lycanthropic me up so little interest, I think it is quite probable that these views are correct. So, why this has been successful and it does not (in the U.S. have earned less than your budget, although the international market investment saves some slack)? Hard to say. Perhaps the players have not prompted the same fervor in fans, perhaps there has been no material time that the literary saga accumulate so many fans (want to be a series of six books, first published in 2010 and the second will be released this summer, the rights to the film were bought even before one could buy the book). There is talk of sequel, but it is still a premature discussion. Hollywood.
The big problem I'm having number four is that it has things like we have to know them without explanation. What I do mind is that we're going to see the epic of nine young aliens who have fled from extinction at the hands of a violent and dangerous race from another planet and are hiding on Earth as normal people and under the protection of a guardian. We do not have names, just numbers. We know they are dying in order. And obviously, we know that the first three have already died, because otherwise we would have a problem with the title and numbering of the protagonist. "The order is good for something? We do not know. What good are the marks on the leg that will occur at number four with the death of their companions? We do not know. Where the hell out this dog and why? We do not know. Why have taken years to kill the first two and only a few days to find the third and fourth? We do not know. Why the hell the guardian does not seem to know anything anything until it is not much? We do not know. The film moves blindly through a very simple reason: no one knows where the story goes, because not even been published. It seems silly, but it is not.
Da whole feeling that I number four film is a photocopy of I book number four, as with all these sagas already mentioned. Hollywood does not want to risk with these films at all (if there is a story that had potential is the number six, not that of this number four). And seeing this show, one wonders why there is no greater courage and greater adaptation work. This film was crying out for an impressive introduction, full of special effects here are only for the final climax and laid the foundations for a good sci-fi saga. We do not, and so the film is from the beginning in a routine attempt to make money with some success and with some force in the development of the last half hour, all you really have interest after a very long (and inconceivable times naive) time is introduced (which is a painful epilogue just before the final battle in which the main couple, pursued by half a dozen alien murderers and their lives danger ... go to a school to disclose a roll of film to strengthen how much you want).
That all follow a predetermined basis is logical if we consider that there are no big names in the project. The most important is Michael Bay, who acts as producer (and, sure, it's who has led to explode things down on his films as director, I must say). DJ Caruso directs, director of Lives with Angelina Jolie and Disturbia Eagle Eye with Shia LaBeouf , and it does a very impersonal. The actors meet what is expected of them, which look attractive and handsome (as are) doing nothing unusual (do not). That is, Alex Pettyfer and Dianna Agron are more of the same guys who aspire to be photogenic actors. All have limited experience and only Teresa Palmer (number six) has had some impact with the childish The Sorcerer's Apprentice. Not much. The character of guardian rests Timothy Oliphant (the villain of Die Hard 4.0 ), and clearly required an actor of greater charisma and fame to the film to have a certain aura of prestige that never comes to achieving although quite entertaining at times.
best is in the end, in that fight on several fronts, well shot and well developed, even well resolved (except for the final detail of the dog or the epilogue buenrollista impossible to believe). It's one more, one like any other, to spend more or less pleasant ratillo and never leave any dregs. Nothing new on the horizon, but nothing too terrible to rant out of the cinema. Yourselves.
0 comments:
Post a Comment