Let Me In

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. (31/03/2011)

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%) (24/01/2021)

Vampire's Frost for the second time and a class better. Matt Reeves only loses in the regard that he occasionally precisely copies a shot, 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. However, the main duo 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 Chloe Moretz's portrayal, Abby is a creature that every peer must envy Owen. Their subtle glances during timid closeness and unspoken emotions literally melt hearts and evoke an unexpected smile. At this moment, this film, 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 indicate a blind love for European originals. This is even more paradoxical considering that the original film is "only" a literary adaptation, so giving it points for a brilliant idea is at least slightly undeserved. (08/10/2011)

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. (14/11/2012)

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..." (30/01/2011)