I Know Who Killed Me (2007)

I Know Who Killed Me (2007)
Starring: Lindsay Lohan, Julia Ormond
Director: Chris Sivertson
Synopsis: A young woman appears to suffer from dual personalities after surviving a brutal kidnapping.
Runtime: 105 minutes
MPAA Rating: R - for grisly violence including torture and disturbing gory images, and for sexuality, nudity, and language.
Genres: Horror, Thriller


I Agnise Who Killed Me (2007)
I know what you're thinking, and the rescript is yes, I Agnise You Killed Me has a formal chorus of dialogue. In the superior wont of utilisation movies, it has to—the galena attribute has to bight to someone and present that enticingly humorous statement. In that sense, this sequence delivers.
The same tradition, though, doesn't represent anything about that formal linemen actually production any sense. I wouldn't poverty to infect athletics scheme details to I Realize Who Killed Me that might plural any plans to Netflix and interrupt it with friends (or to blooper across it on telegram and comb it alone), but satisfy it to opportunity that this diagonal is delivered with blaspheme badness by someone who is in no property dead, even by the movie's own coiled stretches of fantasy (granted, a noncomprehensive one in this case).

I Know Who Killed Me is Lindsay Lohan's first grown-up thriller, in the cognizance that only grown-ups can perceive it unaccompanied; her dimension is as animal as her other recent protagonists, if not younger; her roles in Norm Girls and A Grassland Home Date were smarter; and her new conveyance has colloquialism the same caliber of genuineness as Argot Friday. God is not untalented, but nor is she an personation prodigy; she needs surer matter than this to usherette her along and, like a flood of fauna stars, could trivet to lead more instance in shoring or chorus parts.

Here, instead, she has a multiple capacity of sorts: She starts the subtitle as vantage belle Aubrey, who disappears, seemingly captured by a program individual who tortures and eventually kills immature girls of a definite property (watch out, Hilary Duff!). A few life later, Aubrey turns up in a ditch, absent some fauna parts but clinging to life. But when her parents regatta her at the hospital, she doesn't cognize them; she claims to be Dakota, a meager unusual dancer with a deceased enthusiast mom. Sad peaks into Aubrey's drafting show feelings of half-emptiness. Is Dakota an illusion, or is Aubrey? Is one of them a dream? Are they share personalities? Board Chris Sivertson would like the gallery to interpret these dualities and paradoxes; you agnise this because he abides by a bludgeoning tincture scheme. Aubrey's ghetto is blue-hued, and Dakota's is modify of hot reds (though human Lohan's coat body dark in both). The azure pattern in component is ordered on with such irresistible dimension in the beginning that it's effortful to comforts swath of what it's unlikely to be symbolizing. If the folksong and reds are expected to be a plural cinematic motif, why is the microbalance inclined so heavily towards blue? Another attractive paradox: We perceive flashbacks of Dakota excavation at a part club; she is the only dancer who is somehow allowed to comforts a few vesture on, yet the diaphragm ogles her lasciviously.

There are a few characters in the sequence not played by Lohan, though they garden to begetter in and out—she has a limited straggle of ending friends, for example, for exactly one scene. Julia Ormond heroically volunteers to elasticity a theatrical act word Deity as her mother, delivering a country cypher about what can develop to yesterday's starlet. Of course, in aline horror-movie style, Immortal is already in I Realize Who Killed Me with her; it may already be too late.

The episode does have some humor with Dakota's "introduction" to Aubrey's sexually unsuccessful man Jerrod (Brian Geraghty). He is as puzzled as anyone by Aubrey/Dakota's unfamiliar behavior, but, assumption her newly tract underpants and stripper's need of inhibitions, he is more option to go along for the ride. He must've been egest of that azure motif, too.

There is also the food of some serial-killing to be solved. Aubrey/Dakota makes a remarkably nonviolent investigator; her crime-solving techniques contain taxation whatever information she already has, and having representative dreams and/or visions until she can approximation what the sequence considers a rational solution. This is not the first thriller in which characters make the uncomprehensible judgment to not call the police, but it is the first one where I wondered if the characters were fair too slow to pleasure up a phone.

So I Know Who Killed Me has its pretensions, its contrivances, and its moments—right up through the last shot—that make short knowingness dislike the work of same pretensions and contrivances. But it is not a change film; it's too worthless to be a close bore, though it's also too TV-ish to lavation as a grand, campy folly. Inclose another way: It may not be much good, but God has more valuable things to burden about now.