![“Let Me In”Written by Matt Reeves and John Ajvide Linqvist based on the novel “Let the Right One In” by Ajvide Linqvist; Directed by Matt Reeves; Stars: Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins, Elias Koteas and Dylan Minnette. Story: Focuses on a fatherless latch-key 12 year-old boy who’s bullied at school and the friend he makes in the weird girl who moves in next door, who is, in fact a vampire.
Seen by Adam and Lars, October 9, 2010
LARS:Let’s get the obvious out of the way first: there is no good reason for this movie to exist. The only reason to remake “Let the Right One in” is that the great unwashed either can’t or won’t read subtitles. The Swedish original was a nearly perfectly executed film that struck a fine balance between being a vampire thriller and an unusual love story. So why would a talented filmmaker like Matt Reeves (“Cloverfield”) even attempt to re-shoot the movie with an American cast? Frankly, that question remains unanswered after seeing “Let Me In”. But the good and surprising news is that the film is nearly as good as the original. Obviously, the source material, the novel written by John Ajvide Lindqvist who also penned the original screenplay, is strong enough that you can pull different versions from it without breaking the central story. The American version is not a scene-for-scene remake of the original. It retains the crucial scenes that move the story forward, but it’s obvious that the movies are not shot from the same screenplay. Which makes the two movies great fodder for film school conversations for years to come. In Lindqvist’s novel, there’s absolutely nothing romantic about being a vampire. It is a sad affliction, especially if you happen to be a 12-year-old girl, who has been 12 for a very long time. In this version, the girl vampire is called Abby and is played by Chloe Moretz, whom we last saw kick ass as Hit Girl in “Kick Ass”. Moretz reminds me of Dakota Fanning in that she seems wiser and more mature than her years. Yet, thankfully, she doesn’t exude the precociousness that always made me feel that Fanning was slightly annoying. Here, Moretz does a stellar job of conveying the sadness, neediness and steel-will that the girl vampire needs to attract not only her victims but also her ‘keepers’. Her willing ‘victim’ is the sad-eyed and friendless Owen, who is perfect fodder for the school bully, who in a slightly clichéd turn is just passing on, what he’s receiving himself. Owen is utterly defenseless until Abby tells him he has to fight back so hard that they’d never dare touch him again. The Australian actor Kodi Smit-McPhee, whom I had written off after his turn in “The Road”, plays Owen with exquisite wimpiness. Granted, “The Road” was so boring that I several times wished for the world to actually end during the 3 viewings it took me to get through it, which is certainly not young Kodi’s fault. In fact, here he does a fine job as the passive-aggressive kid that finds an enabler and executioner as well as a ‘girlfriend’ in Abby. So Reeves does a good job crafting an American version of “Let the Right One In”. I just can’t help feel that all this skill would have been better spent in the service of creating a film that didn’t already exist. If you haven’t seen the Swedish original, then by all means go see “Let Me In”. It’s a fine movie. But did I mention that you can watch “Let the Right One In” on Netflix streaming video right now?
ADAM: As the guy who never saw the Swedish original “Let The Right One In,” I entered the theater with high, yet reserved expectations based on my friends’ reviews of the original; high, because the source material is considered one of the best foreign thrillers of the past few years. And reserved, because I’ve experienced the result of many a remake, the majority of which fall well short of their forerunners. Though I don’t have the ability to make a comparison, I can only imagine “Let Me In” is the exception to the rule. A moody, heart wrenching dramatic thriller, it takes the time to give depth to its main characters, and in doing so (along with a tremendous performance by the two young leads), delivers a rich experience. I can (and won’t) give too much away here, but imagine most know that this film is about vampires. What many don’t realize is that despite its share of scare beats, blood and gore, “Let Me In” focuses much more on the emotional toll the situation has on the vampires themselves and those who care about and for them. It’s these relationships, between Chloe Moretz, who last played Hit Girl in “Kick-Ass” and her caretaker Richard Jenkins and between Moretz and Young Kodi Smit-McPhee, a bullied boy with little backbone and a sad and broken home life that set the tone for the entire movie. Again, vampires have to eat, and Moretz’ Abby is no exception, but her remorse, her regret about her lot in life, and her desire not to get too emotionally attached to McPhee’s Owen (or let him get too attached) is done in a such a perfect, delicate way that we find ourselves falling for Abby along with Owen. As much as McPhee’s performance is well-delivered, Moretz is absolutely perfect. This is a twelve year-old actress who commands the screen with such incredible presence, regardless of genre, that I imagine there’s little material she cannot handle and I would expect her to be a name we are all familiar with over the next twenty years. She stole “Kick-Ass” with her outrageous gutter mouth lines and her intimidating physicality. She’s arguably the villain of “Let Me In,” yet she steals our hearts and compassion from the first frame she fills on screen. It’s a fair argument that in both cases, she had excellent material from which to work, but I have to think that she elevates it beyond what Matt Reeves or Matthew Vaughn expected. Reeves does an excellent job setting mood and heightening tension that all adds up to a enjoyable mix of drama and thrill. He’s done great work in casting the right people for the roles and directing them to fine performances. All in all, this is a nice, smaller film, that provides a bit for everyone to enjoy. I’ll certainly see the original to compare, and I’d advise anyone to see the Swedish standard, but if you can’t get yourself to read subtitles[shame on you], “Let Me In” is absolutely worth your time.](http://25.media.tumblr.com/tumblr_lahv0bEKj31qaw4plo1_400.jpg)
“Let Me In”
Written by Matt Reeves and John Ajvide Linqvist based on the novel “Let the Right One In” by Ajvide Linqvist; Directed by Matt Reeves; Stars: Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins, Elias Koteas and Dylan Minnette. Story: Focuses on a fatherless latch-key 12 year-old boy who’s bullied at school and the friend he makes in the weird girl who moves in next door, who is, in fact a vampire.
Seen by Adam and Lars, October 9, 2010
LARS:
Let’s get the obvious out of the way first: there is no good reason for this movie to exist. The only reason to remake “Let the Right One in” is that the great unwashed either can’t or won’t read subtitles. The Swedish original was a nearly perfectly executed film that struck a fine balance between being a vampire thriller and an unusual love story. So why would a talented filmmaker like Matt Reeves (“Cloverfield”) even attempt to re-shoot the movie with an American cast?
Frankly, that question remains unanswered after seeing “Let Me In”. But the good and surprising news is that the film is nearly as good as the original. Obviously, the source material, the novel written by John Ajvide Lindqvist who also penned the original screenplay, is strong enough that you can pull different versions from it without breaking the central story. The American version is not a scene-for-scene remake of the original. It retains the crucial scenes that move the story forward, but it’s obvious that the movies are not shot from the same screenplay. Which makes the two movies great fodder for film school conversations for years to come.
In Lindqvist’s novel, there’s absolutely nothing romantic about being a vampire. It is a sad affliction, especially if you happen to be a 12-year-old girl, who has been 12 for a very long time. In this version, the girl vampire is called Abby and is played by Chloe Moretz, whom we last saw kick ass as Hit Girl in “Kick Ass”. Moretz reminds me of Dakota Fanning in that she seems wiser and more mature than her years. Yet, thankfully, she doesn’t exude the precociousness that always made me feel that Fanning was slightly annoying. Here, Moretz does a stellar job of conveying the sadness, neediness and steel-will that the girl vampire needs to attract not only her victims but also her ‘keepers’.
Her willing ‘victim’ is the sad-eyed and friendless Owen, who is perfect fodder for the school bully, who in a slightly clichéd turn is just passing on, what he’s receiving himself. Owen is utterly defenseless until Abby tells him he has to fight back so hard that they’d never dare touch him again. The Australian actor Kodi Smit-McPhee, whom I had written off after his turn in “The Road”, plays Owen with exquisite wimpiness. Granted, “The Road” was so boring that I several times wished for the world to actually end during the 3 viewings it took me to get through it, which is certainly not young Kodi’s fault. In fact, here he does a fine job as the passive-aggressive kid that finds an enabler and executioner as well as a ‘girlfriend’ in Abby.
So Reeves does a good job crafting an American version of “Let the Right One In”. I just can’t help feel that all this skill would have been better spent in the service of creating a film that didn’t already exist. If you haven’t seen the Swedish original, then by all means go see “Let Me In”. It’s a fine movie. But did I mention that you can watch “Let the Right One In” on Netflix streaming video right now?
ADAM:
As the guy who never saw the Swedish original “Let The Right One In,” I entered the theater with high, yet reserved expectations based on my friends’ reviews of the original; high, because the source material is considered one of the best foreign thrillers of the past few years. And reserved, because I’ve experienced the result of many a remake, the majority of which fall well short of their forerunners.
Though I don’t have the ability to make a comparison, I can only imagine “Let Me In” is the exception to the rule. A moody, heart wrenching dramatic thriller, it takes the time to give depth to its main characters, and in doing so (along with a tremendous performance by the two young leads), delivers a rich experience.
I can (and won’t) give too much away here, but imagine most know that this film is about vampires. What many don’t realize is that despite its share of scare beats, blood and gore, “Let Me In” focuses much more on the emotional toll the situation has on the vampires themselves and those who care about and for them. It’s these relationships, between Chloe Moretz, who last played Hit Girl in “Kick-Ass” and her caretaker Richard Jenkins and between Moretz and Young Kodi Smit-McPhee, a bullied boy with little backbone and a sad and broken home life that set the tone for the entire movie.
Again, vampires have to eat, and Moretz’ Abby is no exception, but her remorse, her regret about her lot in life, and her desire not to get too emotionally attached to McPhee’s Owen (or let him get too attached) is done in a such a perfect, delicate way that we find ourselves falling for Abby along with Owen. As much as McPhee’s performance is well-delivered, Moretz is absolutely perfect. This is a twelve year-old actress who commands the screen with such incredible presence, regardless of genre, that I imagine there’s little material she cannot handle and I would expect her to be a name we are all familiar with over the next twenty years. She stole “Kick-Ass” with her outrageous gutter mouth lines and her intimidating physicality. She’s arguably the villain of “Let Me In,” yet she steals our hearts and compassion from the first frame she fills on screen. It’s a fair argument that in both cases, she had excellent material from which to work, but I have to think that she elevates it beyond what Matt Reeves or Matthew Vaughn expected.
Reeves does an excellent job setting mood and heightening tension that all adds up to a enjoyable mix of drama and thrill. He’s done great work in casting the right people for the roles and directing them to fine performances. All in all, this is a nice, smaller film, that provides a bit for everyone to enjoy. I’ll certainly see the original to compare, and I’d advise anyone to see the Swedish standard, but if you can’t get yourself to read subtitles[shame on you], “Let Me In” is absolutely worth your time.
