Back when I was looking forward to the upcoming movies over the next few weeks, I remarked how Let Me In seemed to take only the essence of its source material and put a new spin on it. Having seen Let the Right One In a few years ago and several hundred movies since, I did not remember certain plot points that came back almost immediately as I was watching Let Me In. But, being based on an acclaimed novel, also called Let the Right One In, precludes originality for fear of backlash by fans of the story itself. Anyone with passing interest in the original will not be surprised by the direction the story goes here but director Matt Reeves is still able to create a film that is quite mesmerizing.
Taking place in early 1980s New Mexico, the story revolves around the chronically-bullied Owen and the odd new girl next door Abby. The two meet in the courtyard of their apartment complex and almost instantly become close friends as both have little in the way of other relationships. Abby, of course if you have seen any of the previews or again the source material, is a vampire who is possibly hundreds of years old but stuck in the body of a 12-year-old girl. Her unnamed father figure has made a habit of abduction and murder as a way of feeding Abby without the risk of exposing her true nature. As such, he is really the only person in the world that she is close to. Likewise, Owen is under constant attack by a group of boys who exploit that he is in no physical condition to fight back and his parents are in the middle of a divorce rendering them too self-involved to pay him mind.
The film rarely strays from the two young actors and their relationship as not only is it the crux of the story but also the best part to boot. Even though some points from its foreign origin story are trimmed, there is a bit of ambiguity about Abby as she not only is not human but not even a girl in the strictest sense. For lack of a better characterization, this is a love story but it is a love born out of friendship and understanding, not attractiveness or pheromones. The lead kids Kodi Smit-McPhee and Chloë Grace Moretz have an undeniable chemistry that make what is a dark and sordid tale bearable just with their emotions and interactions onscreen.
The father played by Richard Jenkins is a well-crafted and deep character, even with a minimal onscreen presence. His relationship with Abby is certainly twisted but you can see the decades of stress and nurturing that he has accepted from his guardianship in some of their tender moments together. An almost unrecognizable Elias Koteas plays the detective who threatens to expose Abby and her secrets in his investigation into the murders. Of the four, his character was the most disposable, only present to provide outside conflict as Owen and Abby are now at risk from more than just her insatiable hunger for blood.
In many ways, this movie is the polar opposite to Reeves' last theatrical endeavor, Cloverfield with cinematography that I can only describe as peaceful and intimate. Much like the recently reviewed Blood Simple, the camera sits locked down for extended shots that embrace the beauty of the scenery and the power of the dialogue between Abby and Owen. That said, perhaps if I had come into the movie without seeing the original, I would have been more engaged. But once the story started moving and I started recalling the original, it became somewhat predictable although that is not something that a viewer new to the story would have a problem with. Everything flows at a nice, gingerly pace even with the somewhat graphic violence interspersed throughout. Troubling though was the score by Michael Giacchino which at times was very moving to coincide with the uplifting friendship and yet at others very Lost-ish and out of place. My main gripe with the film though was the unnecessary and campy-looking CGI to show Abby's prowess as she goes for blood. Everything else in the film feels very organic so while I get the intent, I did not like that particular execution.
Alas, Let Me In is a good movie in its own right even if it does feel a bit unnecessary as it does not really add too much that could not otherwise be found in the original Swedish film. If you have a chance to see the original (and given that it is on Netflix Instant, I do not see why you do not), I would do that first because that is just a magical film that happens to be a grisly, vampire flick. But between Smit-McPhee, Moretz, Jenkins, and their wonderful synergy there is enough new blood here to satisfy even an avid fan of the original and prove again that not all remakes are produced by Platinum Dunes.
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