Harrowing ‘Let Me In’ Stands Tall Next to Original

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Rating: 5.0/5.0

CHICAGO – Believing all remakes are pointless is as narrow-minded as suggesting that they’re all worthwhile. It’s not an all-or-nothing proposition. Like a fantastic cover version of an amazing song, there can be room for more than one cinematic interpretation of the same story. Such is the case with Matt Reeves’ spectacular “Let Me In,” a film that stands as an accomplished cover version of Tomas Alfredson’s amazing “Let the Right One In.”

It hits many of the same exact notes, sometimes shot-for-shot, but it also misses a few of the original beats while simultaneously creating its own new tones. Interestingly, the most powerful imagery from the first film has not been supplanted, but Reeves and his amazing team of technical experts have also created their own incredibly memorable visuals. “Let Me In” may have been inspired by one of the best vampire movies ever made but it also stands firmly on its own two bare feet as not only one of the best horror films of the year but one of the best films, period.

Let Me In
Photo credit: Overture Pictures

Relocated to 1983 Los Alamos, New Mexico, “Let Me In” opens with a badly-burned man jumping from a hospital window after a brief interrogation from a nameless cop (Elias Koteas) concerned about a rise in Satanism. It flashes back two weeks and introduces us to our protagonist, a gentle young man named Owen (Kodi Smit-McPhee of “The Road”). The poor kid spends most of his nights on the jungle gym in the courtyard of his apartment complex. It’s one of the few places he feels safe as his home has been turned into the emotional minefield that comes with divorce and his school has become a physical nightmare at the hands of vicious bullies.

Into Owen’s world drops Abby (Chloe Grace Moretz of “Kick-Ass”) and her guardian (Richard Jenkins). Shortly after their arrival, Abby’s father figure begins to venture into this snow-covered world to find food for his “daughter” but a few mistakes on the part of a man who seems to have aged past the point where he could be effective leads Abby into danger.

Meanwhile, Abby and Owen grow closer as she inspires him to take action against his oppressors at school. As Owen learns about the true nature of Abby, he is faced with several decisions. Stay close to a creature that could be described as evil or run in the other direction? With literally no one in his life to protect him, Owen desperately needs someone or something to hold on to.

Let Me In
Photo credit: Overture Pictures

Reeves completely discards the bombast of his debut, “Cloverfield,” for a piece that breathes in the cold air of New Mexico and builds tension instead of merely trying to induce it through jump cuts or loud music cues. With remarkable cinematography, a gorgeous score by Michael Giacchino (along with absolutely-perfect pop music choices including a great scene cut to “Burnin’ For You” by Blue Oyster Cult), and a true understanding of the art of space vs. close-up in the world of horror, “Let Me In” is one of the most expertly-directed films of the year.

It’s also one of the most well-performed. Smit-McPhee finds the quiet humanity at the heart of Owen that is so essential to this character. Owen isn’t just a bullied kid looking for revenge. He’s looking for anything other than a cold playground and a Now and Later. And Moretz matches him by delivering a performance that’s both incredibly strong and multi-layered. She perfectly balances the duality of a character who is both a killing machine and a fragile girl. I can’t say enough about what these two young actors bring to the piece. They’re fantastic.

Many critics have already discarded “Let Me In” because of the strength of the original film and I understand that the A-level 2008 work can’t be un-seen, but perhaps the biggest compliment one can pay “Let Me In” is that it’s still an effective horror movie even if you have seen the first film. I knew the entire story and yet Reeves still got me to the edge of my seat, biting my nails, with my heart racing. Everyone wants to know which one’s better or worse. I’d say they’re equal overall but “Let the Right One In” is a better drama while “Let Me In” the superior horror movie (and one of the best remakes ever made). In other words, they’re both great.

By BRIAN TALLERICO Content Director HollywoodChicago.com brian@hollywoodchicago.com