The tween market is booming. From the Beliebers to Edward Vs. Jacob, there is a seemingly endless chasm waiting for properties developed solely for their commercial value, rush-released and over-exposed until there is very little of the story left to tell in cinemas.

On first impression, I Am Number Four is one such vehicle: the big-screen adaptation of a chart-topping book and the first in a series by Pittacus Lore, the bizarre pen name of James Frey (the maligned author of memoir-fiction 'A Million Little Pieces') and Jobie Hughes. 'I Am Number Four' signified the start of 'Full Fathom Five', a publishing company Frey helms and has recently been further lampooned for. This project, 'The Lorien Legacies', is shrouded in secrecy but the latest rumour suggests that Hughes has been ejected from the project, and Frey is forging on alone. Given 'Full Fathom Five's' mission of "conceiving commercial ideas that would sell extremely well", Frey is onto a winner; Disney acquired the rights prior to the novel's release, leaving Director D.J. Caruso ('Disturbia', 'Eagle Eye') with under a year to prepare, shoot and edit the film.

From the offset this project was strapped to the back of a rocket set for commercial success. With Michael Bay and Steven Spielberg on production duties alongside a bland, excitable director in Caruso, we have a veritable dream-team of action, explosions and teenage fantasy. As 'Tron: Legacy' proved, however, these projects can easily derail and bomb commercially, regardless of Disney's backing. Fortunately, '...Number Four' avoids these pitfalls and delivers on the chart-topping source material, all things considered.

"There were nine who escaped. Three are dead. He is Number Four." We are presented with this opening gambit, before the opening scenes build to the realisation that Numbers One, Two and Three have perished. We join Number Four, or John Smith, as he and his guardian Henri (Timothy Olyphant) must again go on the run from the evil Mogadorians.

Number Four (Alex Pettyfer) is in hiding on Earth after his planet Lorien was wiped out. Each child is protected by their father-figure Guardians and a charm that dictates they must be killed in sequence. The Mogadorians are pantomime enemies, interested only in "decimation". With strange tattoos and gills, they could have been menacing were it not for scenes in which we watch them buying food at a supermarket, or laughing as they scare passers-by.

Alex Pettyfer continues the British invasion of big-budget Hollywood, playing a part of two halves; yo-yoing between emerging hero and sullen teenager. "I know how to blend in", he assures us, before inevitably getting dragged into high-school bitchiness and drama. The cliches don't stop here; even more testing is his budding romance with Sarah ('Gleeâ's' Diana Agron), the school photographer. Falling in love with the bland Sarah seems ever more foolish as the leather-clad Number Six (Teresa Palmer) enters the frame, although this issue is taken care of (with the rather boring plot device) that Loriens only fall in love once. Despite their relationship budding both off-screen and on, Agron and Pettyfer's relationship is wet and without sparks. They lead the way in subjecting us to endless teenage cliche and high-school clique.

The lack of heat is made up for in the second half, where Michael Bay's influence comes roaring into the frame. ILM were brought on board for the visual effects, which are stunning; the Lorien children's "Legacies" begin to manifest themselves to spectacular effect. Barring a ludicrous early sequence featuring Number 6, a fireball and some blaring Adele, the CGI is flawless throughout.

The script provides some sharp comedy value, particularly in Henri/s insistence that John lay low, removing all traces of him. Or, in a particularly suggestive use of John/s powers, Number Six's insistence that "Red Bull is for pussies". The musical backdrop plays to the market with the XX, Adele, Kings Of Leon and the Temper Trap all making prominent appearances in the build-up to the frenetic second half which reverts to a more traditional score.

Caruso has perhaps has locked onto the formula made profitable by Harry Potter, with a further six instalments planned (dependent on box office performance). This is easily the superior of any of the Twilight series, and has the potential to grow and mature alongside the target audience.

I Am Number Four is a pure popcorn movie, but in a summer occupied by huge blockbusters including 'Transofmers', 'Captain America', 'X-Men: First Class' and 'Pirates Of The Caribbean', the move for a rush-release has seemingly worked in the studio's favour. Whilst there is much to improve, it seems the ending coda "Earth is as good a place I know, and my home" was knowing. Over to you, box office.