Let Me In is a difficult film to review. I love director Matt Reeves, Cloverfield being right next to Let The Right One In as one of my favorite films of 2008. When it was announced he would be remaking the film, I was disappointed he wouldn’t be doing an original project. But one could understand, as most Americans are too put off by subtitles and Let Me In will likely gross more in its opening weekend than the $11m worldwide total for the original.
On its own, Let Me In is an effective film. It heavily borrows from the original and those that have never seen Tomas Alfredson‘s version will get an astounding tale of violent love. For those that have seen the original, that heavy borrowing will hinder your experience.
The changes Reeves does make actually work to improve the movie. He brilliantly places the entire perspective from the eyes of the children, played by Chloe Moretz and Kodi-McPhee, this time around. The duo delivers some of the best child-acting put on screen. No more excursions to the local diner like the original. [MINOR SPOILERS] He completely changes a certain acid-burning scene and it is one of the best of the year.
It’s the changes that he doesn’t make that hurt the film. The majority of the scenes are kept nearly the exact same, which only made my mind drift off thinking of the source. The new things Reeves brings to the table are so fresh that it pains me to think what he could have done if he had the courage to truly divide himself from the source material.
Reeves also attempts to transfer the cold, deliberately slow nature of the original here. Instead of the beautiful pale palette, he infuses a warm orange glow to most scenes. It looks nice, but doesn’t gel well with the slow mood previously captured, that he fails to repeat.
The number one crushing disappointment was his take on climax. Without giving details, a single shot in the original became one of my all-time favorites. Here, instead of trying something new he does the same, but chops it up, ripping out any tension.
With such great lead performances and some eloquent cinematography it pains my heart that Reeves is too rigid with respecting the original. If you haven’t seen it, then I’m confident you will adore this invigorating tale of young love. If you have, I can’t help but feel it’s an unnecessary waste of time.
6 out of 10
Let Me In hits theaters Oct. 1st