Directed by:
Matt ReevesCinematography:
Greig FraserComposer:
Michael GiacchinoCast:
Kodi Smit-McPhee, Chloë Grace Moretz, Elias Koteas, Richard Jenkins, Sasha Barrese, Cara Buono, Juliet Lopez, Dylan Kenin, Dylan Minnette, Chris Browning (more)VOD (2)
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From Matt Reeves - the director of Cloverfield - comes the new vampire classic that critics are calling "chillingly real" (Scott Bowles, USA Today), "one of the best horror films of the year" (Cinematica) and "a haunting, touching and unforgettable thriller" (Pete Hammond, Boxoffice Magazine). In bleak New Mexico, a lonely, bullied boy, Owen (Kodi Smit-McPhee of The Road), forms a unique bond with his mysterious new neighbor, Abby (Chloe Grace Moretz of Kick Ass), who moves from town to town with the man who appears to be her father (Oscar Nominee Richard Jenkins of The Visitor). Trapped in the mind and body of a child, however, Abby is forced to hide a horrific secret of bloodthirsty survival. But in a world of both tenderness and terror, how can you invite in the one friend who may unleash the ultimate nightmare? (official distributor synopsis)
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Reviews (8)
I don't really seek out vampire-themed films, but this is a very good film within the genre. Not necessarily because of any perfect effects, but mainly due to the carefully crafted atmosphere and the steadily increasing tension, with music playing a big part in both. When you add to that the excellent performances of the central duo, who, despite their differences and all the adversities, find affection for each other, along with the unpredictable ending, I can't really fault the creators for anything. However, take my review with a grain of salt, because I haven't read the book and i have also not seen the original Swedish film directed by Tomas Alfredson. (75%)
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Love is blind. A well-made horror movie, supported by an interesting storyline and excellent acting performances by little squirts, Kodi Smith-McPhee and Chloe Moretz. I haven’t seen the original, and to tell the truth I understand why Reeves (if it’s true what most people are say) copied it so faithfully, just Americanizing it a little. Imagine watching a movie. A perfect movie that you like exactly the way it is. Then an American producer comes in and says that he wants a remake. “But this movie is perfect, why would you want to change anything?" you ask. Of course his only aim is to make a quick buck and so the only way to minimize damage is to say: “Ok I’ll do it, but let me make it as true to the original as possible..."
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The only thing qualitatively comparable to the Swedish original is the setting in the oppressive and detached environment of a suburban housing estate. Otherwise, it's basically a sort of inferior copy of the original film, which by its creation precisely satisfied the American audience's demand for an English dub. And I can't help but think that even the direction was better in the original version (even "just" the finale), not to mention the strangely platonic, yet intimate relationship between the main characters, which lacks any sensuality or even the slightest spark in the American version.
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Another version of Let the Right One In, this time a whole level up. Matt Reeves only loses out in that he occasionally copies a shot exactly from the first version, but otherwise he takes the better parts from the source material and, unlike the Swedish version, manages to easily avoid cumbersome supporting characters or incomprehensible scenes. And yet it is the main duo that deserves the biggest applause. While in the Nordic version I didn't know whether to root for their romantic bond or just wait to see how their story ends, in Chloë Grace Moretz's portrayal, Abby is a creature that surely makes Owen the envy of all his peers. Their subtle glances during timid intimate moments and the unspoken emotions literally melt hearts and evoke an unexpected smile. At this moment the other version, which is two years older, is only saved by the fact that I saw it first; in direct comparison to Let Me In it loses on all fronts. Therefore, I am disappointed by the local reviews that sometimes suggest a blind love for European first attempts. This is even more paradoxical considering that the original film is "only" adapted from a book, so giving it points for a brilliant idea is at the very least somewhat undeserved.
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I don't know the original, so I'm not comparing, and it's probably a good thing this time. Let Me In swept me away in a way that modern horror hasn't managed to do in quite some time (with the exception of Dream House). I'm not surprised that it's Stephen King who is praising it so enthusiastically - it's just like one of his stories, in which supernatural and seemingly scary creatures/things end up appearing in an unexpectedly sympathetic light (without losing any of their scariness) and the worst deeds are committed by ordinary people. That's what gives me the chills. I praise the direction, which is impressive during the bloody and melancholic scenes, Giacchino's amazing music and the performances of the small and big (Richard Jenkins!) actors... I give it a fifth star for the ending, which fortunately did not show everything.
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