{"id":413,"date":"2010-11-04T23:23:36","date_gmt":"2010-11-04T23:23:36","guid":{"rendered":"http:\/\/filmgaze.com\/blog\/?p=413"},"modified":"2010-11-05T01:06:12","modified_gmt":"2010-11-05T01:06:12","slug":"let-me-in","status":"publish","type":"post","link":"https:\/\/filmgaze.com\/blog\/fantasy\/let-me-in\/","title":{"rendered":"LFF: Let Me In -4*"},"content":{"rendered":"

\"\"<\/a>It\u2019s very easy to become a film snob about any US remake of a recent and internationally acclaimed foreign-language film. But if the material it\u2019s based on is of a high calibre, then the film-makers are already off to a flying start. Such is the case with Cloverfield<\/em><\/a> director Matt Reeves<\/a>\u2019s take on Ajvide Lindqvist<\/a>\u2019s exceptional and best-selling Swedish novel, Let The Right One In<\/em><\/a>. If you haven\u2019t had the pleasure of watching the original 2008 Swedish screen adaptation of the novel\u2019s same name, then Reeves\u2019s version, shortened to Let Me In<\/em><\/a>, is a triumph all on its own \u2013 minus the subtitles.<\/p>\n

Let Me In<\/em> may be a film about a vampire, but it\u2019s real concept is that of a tender coming-of-age tale of two, seemingly, alienated \u2018children\u2019. It gently exploits that all too familiar feeling of being the outsider at school and in the local community of your peers to full haunting effect. This, coupled with the supernatural element, is what gives the film its offbeat and stirring atmosphere. That said the Swedish film was more successful at cultivating this, wisely leaving the human sacrificing punchline until much latter on in the plot. Reeves\u2019s version seems to deal all its cards at once, opting to reveal why the strange new girl-on-the-block\u2019s father kills at the very start of their arrival, and taking away a lot of the first film\u2019s mystery.<\/p>\n

However, in the US film\u2019s favour, it adds a climatic and exhilarating car crash scene from the rear passenger\u2019s point of view that\u2019s not in the original, and although it\u2019s peppered with police action, like an episode from Hills Street Blues<\/em><\/a>, it also does away with the weirdly-placed cat attack and weakly developed community vigilante episode of the Swedish version. In hindsight, having a detective on the trail to make the bloody bathroom discovery makes more sense. Thankfully, Reeves\u2019s film doesn\u2019t fall victim to titillating blood-sucking attacks, although his tunnel scene seems a little too sci-fi and stylised. The look of the film is near identical, a kind of magical, snowy fairyland with a sinister undercurrent. But snow in New Mexico sounds like a contradiction in terms.<\/p>\n

What makes the US remake instantly engaging is Reeves\u2019s casting of the right ones in the leads, even managing to improve on the astounding performances in the original. Kick-Ass<\/em><\/a> star Chlo\u00e9 Grace Moretz<\/a> who exploded onto the scene in the comic book adaptation with a tirade of abuse and attitude is new girl Abby with a nocturnal secret. Moretz captures the imagination completely as the seemingly fragile and untalkative young soul who walks barefoot through the snow, but has the wisdom of someone much older. Kodi Smit-McPhee<\/a>, the odd-looking kid from grim post-Apocalyptic drama The Road<\/em><\/a> (with Viggo Mortensen<\/a>), is perfectly cast as social outcast Owen, balancing the right amount of angst, vulnerability and charm to depict a teen in torment. He even looks the part as a kid with the world on his shoulders, with only one friend who seems to get him \u2013\u00a0Abby.<\/p>\n

This is where the US film ventures more into controversial territory. The original \u2018implied\u2019 elements of paedophilia, whereas Reeves confronts this aspect of Lindqvist\u2019s story, but without overstepping the mark. Abby gently caresses her father\u2019s face (played by the ever remarkable Richard Jenkins<\/a>) that implies more than just daughterly affection. There is also the issue of Abby\u2019s grooming of Owen to be her next companion\/guardian that seems innocent at first, but considering who and how old Abby really is, is slightly disconcerting to say the least, luring this impressionable child away from his home life. However, none of these episodes are depicted in bad taste as they are woven into the whole child-cum-adult ritual of teen experimentation, whilst growing up.<\/p>\n

Let Me In<\/em> is a genuinely solid remake that produces some consistent, engaging and mature performances from its young leads, and rekindles the enthusiasm you first felt for the original film. It\u2019s also very topical, addressing not only the vampire element that seems to be the obsession in film and on TV at present (True Blood<\/em><\/a>, The Vampire Diaries<\/em><\/a>, Twilight<\/em><\/a> etc), but also the subject of bullying. Ironically, the age group it portrays will not be able to see it, but as a certificate 15, it will not be missed by all those of school age and blightened by this issue. Let\u2019s hope the draw of Chlo\u00e9 Grace Moretz can do it justice at the box office because it deserves its chance of success.<\/p>\n

4\/5 stars<\/strong><\/p>\n

By L G-K<\/p>\n

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It\u2019s very easy to become a film snob about any US remake of a recent and internationally acclaimed foreign-language film. But if the material it\u2019s based on is of a high calibre, then the film-makers are already off to a flying start. Such is the case with Cloverfield director Matt Reeves\u2019s take on Ajvide Lindqvist\u2019s … <\/p>\n

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