Director: Matt Reeves
Writer: Matt Reeves, based on Let the Right One In by John Ajvide Lindqvist
Cast: Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins, Elias Koteas, Cara Buono
Running Length: 115 minutes
Synopsis: Owen (Kodi Smit-McPhee) is a scrawny, timid 12-year old who is frequently bullied at school. When a new girl, Abby (Chloe Moretz) moves into his apartment block together with an older gentleman who seems to be her father (Richard Jenkins), Owen’s interest is naturally piqued, and despite Abby’s protests, a friendship soon forms between the two. What Owen doesn’t realize (until later) is that Abby is actually a vampire, and when her “father” is unable to provide for her meals, she decides to go hunting in the neighbourhood. With her indiscretions during these bloodbaths, it’s only a matter of time before the police (Elias Koteas) get too close for comfort.
Review: One might question the sense in remaking a Swedish film (Let the Right One In) that’s barely 2 years old, but casting aside the fact that Let Me In is a remake, the film actually stands very well on its own merits. Let Me In is starkly different from vampire movies of late – it’s subtle and atmospheric, yet brutally violent when it needs to be. Although there is a pseudo-romance between a vampire girl and a human boy, the soppy melodrama that permeates vampire romance franchises like Twilight are completely missing in this movie – which, to me, is a very good thing.
The narrative structure of Let Me In is very simple, and there really aren’t that many surprises to be had. However, what really stands out is the quality of acting of the two young leads as well as Richard Jenkins. Kodi Smit-McPhee is very credible as a frightened, socially awkward boy, and it’s very easy for audience members to relate to him. Chloe Moretz may be too attractive and girly to pass off as an age-old vampire, but there’s great chemistry between her and Smit-McPhee, and given the unique situation Abby is in (her new relationship with Owen puts her existing relationship with her “father” into jeopardy) , manages a very nuanced performance. Richard Jenkins has only a handful of scenes, but these are some of the most emotionally powerful in the movie and Jenkins manages to convey a multitude of emotions without even having to speak.
What’s most impressive about Let Me In is how Reeves treats the source material with a lot more respect than many Hollywood remakes. He has managed to make the film “Hollywood-friendly” while still preserving much of what made Let the Right One In such a good horror film, and yet Let Me In is different enough to justify its existence. Much of the ambiguity in the original has been cleared up, and in some ways this may prove a more satisfying cinematic experience for many viewers.
One of the few problems with Let Me In is its special effects. There’s a lot of gore in the film, but some of these sequences are more cheesy than scary, and the scenes with Abby turning into a vampire are particularly unconvincing. However, it’s clear that Reeves had intended this film to be more a psychological horror film than an outright splatterfest, so it’s a rather forgivable flaw. There may not really be a reason for Let Me In to be made, but Reeves’ sophomore directorial effort is a very accomplished, solid film that deserves to be seen.
Rating: * * * (out of four stars)