<\/strong><\/p>\n Directed By: Matt Reeves<\/strong><\/p>\n <\/strong><\/p>\n Starring: Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins, Elias Koteas, Dylan Minnette<\/strong><\/p>\n \n It’s one thing to remake a film years after its release, but writer-director Matt Reeves faced one heck of a challenge making an American version of the fantastic Swedish film, Let the Right One In<\/em>. Not only is Let the Right One In<\/em> one of the greatest vampire movies ever made, but it only came out two years ago. Reeves’ version, Let Me In<\/em>, may not quite validate giving this story another go-around so soon, but that’s not to say it isn’t a wildly enjoyable and astoundingly well-done film.<\/p>\n \n Kodi Smit-McPhee is Owen, a 12-year-old boy living with his mother in Los Alamos, New Mexico. It\u2019s 1983 and Owen\u2019s only salvation from his parents\u2019 divorce and the bullies at school is the time he gets to spend alone at night in the courtyard of his apartment complex. One evening, his privacy is invaded by another 12-year-old (more or less), Abby (Chloe Moretz). Abby just moved into the apartment next door, but informs Owen right from the start that the two cannot be friends.<\/p>\n \n Regardless, Abby and Owen continue to meet in the courtyard and slowly begin to build a relationship. Owen introduces Abby to the Rubik\u2019s Cube, candy and Morse Code, but she offers little in return for she\u2019s hiding a secret. She can\u2019t stomach the candy, is immune to the cold and must be formally invited inside before entering Owen\u2019s home. To top it all off, Abby needs blood to live; she\u2019s a vampire.<\/p>\n \n Let Me In<\/em> is nearly identical to Let the Right One In<\/em>. Moretz and Smit-McPhee look nothing like the Swedish film\u2019s stars, Kare Hedebrant and Lina Leandersson, yet their characters are practically the same. However, Let Me In<\/em> isn\u2019t quite a straight remake. The film may include a significant amount of dialogue and events from the first film, but its parallels are slightly askew both in tone and happenings.<\/p>\n \n Thanks to Michael Giacchino\u2019s haunting original music, the film\u2019s terrifying undertone is established from the instant it begins. Light-hearted moments are short lived for Giacchino\u2019s ominous beating bass is bound to creep back in signifying danger. Further enhancing the foreboding sensation is Greig Fraser\u2019s cinematography. The visuals are as far from straightforward as they come with Fraser frequently using appropriately off-kilter angles and framing bound to make any viewer uneasy.<\/p>\n \n But of course, neither the music nor the cinematography would be as powerful if it weren\u2019t for the stellar performances of the entire cast. Both Richard Jenkins as Abby\u2019s guardian and Elias Koteas as the policeman investigating the mysterious murders make for fantastic yet subdued adult forces. They manage to make quite an impact and are responsible for some of the film\u2019s most terrifying scenes, but never overshadow the stars, the kids.<\/p>\n \n The chemistry between Moretz and Smit-McPhee is astounding. Both are such naturals on screen individually that when combined, they can bring even the simplest of dialogue to life. Their characters are quite shy and speak in a whisper using as few words as possible, but don\u2019t require much more. Moretz and Smit-McPhee achieve the most with facial expressions and simplistic actions using words as a mere bonus. And Let Me In<\/em>\u2019s leads aren\u2019t the only young actors that impress, so does Dylan Minnette as Owen\u2019s adversary Kenny. Kenny is no ordinary school bully. He may resort to painful wedgies at times, but his actions are so malicious, regardless of age, he\u2019s got the power to terrify any audience member.<\/p>\n \n
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