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Let Me In [Blu-ray] Reviews
Let Me In [Blu-ray]
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” (Cinematical) 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 (Chloë 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?
Based on the Swedish novel, Let the Right One In, “Let Me In is a dark and violent love story, a beautiful piece of cinema and a respec
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Wileyboy "The Eclectic Film Hero"
October 14, 2011 at 7:08 am
Let Me In – Sublime, Engrossing, Beautiful,
Back in 1992, I believe it was, “The Last of the Mohicans” starring Daniel Day-Lewis was released to a blockbuster reception by the public. It was exciting, well acted and beautiful. However, it was not a trans-literation (word for word) of the source novel by James Fenimore Cooper – far from it. Like many films that have novels as their story origin, you must endeavor to take the film on its own merits and not bemoan that what you loved in the book was not on the screen as you hoped. You can love both, one, or neither, but don’t hate the one for being unlike the other.
This is the problem many early critical reviewers of “Let Me In” seemed to fall into. They had loved the original Swedish book and film (“Let the Right One In”), but didn’t like this American version because the tone and focus is slightly different. (An example would be Reeves’ decision to make nearly all characters in the film outside the primaries into archetypes, not only simplifying the narrative, but also reenforcing Owen’s isolation – a brilliant choice.) Many critics said things like it’s “a needless remake” or “not as faithful as the original” or some such. The damaging thing is that Matt Reeves’ beautiful film was not taken on its own terms and therefore was not given a chance by some of the very audience it was made for.
“Let Me In” is beautiful, haunting, disturbing, painfully human and engrossing. The pace is deliberate, but spot-on. This was not made for the slasher film crowd. This is a movie that dares you to think what would life be like for a vampire and those around them. It works as a morality tale about, effectively, a serial killer. It also is the story about adolescence and the horrible pain of that age and the joy of finding a kindred spirit.
What is disturbing is the questions that arise from the relationships in the film. Who needs who, for what reasons, and where does the line between ‘love’ and ‘need’ end and the other begin?
The two leads in this film are stunning. No other word will suffice for their performances. They are brilliant and carry the film with their facial expressions. Moretz and Smit-McPhee deserve high praise for their work. Utterly amazing. (Compliments to the secondary players, Jenkins and Koteas, for excellent work as well.)
One final thought, a great film is enhanced by a great musical score. Like “Mohicans”, the music in “Let Me In” soars and makes this film an indispensible one.
See “Let Me In” for all the right reasons. If you are a lover of film, this is a can’t miss.
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|Steven Adam Renkovish
October 14, 2011 at 6:48 am
Best of 2010 Series: LET ME IN,
Let Me In is one of the most beautiful films of the year, and probably the best remake that I have ever seen. It is based on the Swedish film, Let The Right One In, which was released two years ago to monumental acclaim from both critics and art-house audiences alike. This touching story, concerning a young man’s crush on a 12 year old vampire named Eli, captured the hearts and minds of everyone who was lucky enough to see it. If Ingmar Bergman were to direct a vampire-themed film, it would look a lot like this. However, one should not think of the film as yet another entry into the recent “vampire” craze. It is much more than that. This is the film that Twilight only wishes that it could be.
The remake deviates structurally from the original, only in that the opening is a bit different, and a few minor characters have been altered or dropped altogether. The integrity of the storytelling remains intact, and as a result, much of the remake resembles the original in all of its snow-drenched glory.
Kodi Smit-McPhee plays Owen, a lonely young man who is constantly bullied at school in the most brutal fashion. He spends his evenings at home playing with knives, and spying on the attractive neighbor next door. In addition to these disturbing quirks, he has an almost addictive fondness for Now and Laters, and constantly eats the candy throughout the film. Chloe Moretz plays Abby, a young girl who moves in next door with a man that we initially assume is her father. The two meet on the playground one night, and bond over the intricacies of a Rubick’s Cube. Soon, Owen develops a crush on his new friend, oblivious that Abby is really a vampire, and that her “dad” is in fact a serial killer, who creeps out into the night, stalking and killing random victims in order to bring buckets of blood back to Abby, in order that she will survive.
Meanwhile, an older cop tries to figure out who the mysterious killer is, as the bodies continue to surface. As far as Owen is concerned, the bullying still continues at school, but with a little advice from Abby, and a little bit of weight training, Owen realizes that he can stand up for himself in one of the film’s most shocking – and darkly comic – sequences. It doesn’t take long for Owen to realize who and what Abby really is. In all of his fright and confusion, he decides to stay by her side, and as a result, Abby vows to protect Owen in the only way that she knows how.
As I said, this is one of the best films of the year. Both of the leads deserve Oscar nominations for their layered performances. The cinematography is breathtaking. The score is beautiful, although there are moments in the film that could do without a background score. This is my only criticism of this otherwise perfect film. Matt Reeves (Cloverfield) has crafted a worthy tribute with Let Me In.
It is worth mentioning that this film is rated R, and while the film centers on two adolescents, it is not a film for the 12 and under crowd. It is much too disturbing at times, and the language is pretty rough. I would also encourage Twilighters to see the film, so that they may have a clear example of a film (Let Me In) and a product (Twilight).
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