Let Me In

"Let Me In"
Starring: Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins, Elias Koteas
Directed by: Matt Reeves
115 minutes
2010/USA

The similarities between "Let Me In," and its Swedish predecessor "Let the Right One In," are immediately evident. With a slightly different take on the material, and with Americanized sensibilities, "Let Me In," struck me as the better film.

It takes place in the Reagan 80s', where the country is exposed to a fear- like atmosphere, and one of moral judgment. This film's setting is in Los Alamos, New Mexico, where a bullied young boy named Owen (Smit-McPhee) is isolated amongst his peers, and  disconnected from his father. Owen, played by Kody Smit-McPhee, who also played the young boy in "The Road," is a suitable choice for this role. Not only for his fragile frame, but for his sincere ability to make us care. He and his mother live together in an apartment complex where not much happens. Owen plays in the courtyard most nights, while his mother is busy dealing with her divorce. She doesn't recognize how awful he is treated at school, he's abused by kids much bigger than him, but of the same age.

As the film opens, we observe a cop's investigation into several grisly murders in the town. The cop is played by Elias Koteas, one of the best character actors out there. There is a hospital scene in the beginning that serves as the crucial framework of the picture. The scene appears twice, the second time being more telling and effective. The level of intrigue and curiosity is displayed to full effect as we watch Koteas' character observe the horror of the supernatural throughout the film.

It's a story about love and loneliness. A young girl named Abby and her father/guardian move into Owen's complex. Owen observes Abby walking through the snow with no shoes at first glance. She's a stoic and pale little thing, but the young actress nails it. Abby is played by Chloe Moretz, who also played the younger sister in "(500) Days of Summer." The girl and Owen become friends, but she warns him it can't last due to what she really is. In this film the relationship with her father, played by Richard Jenkins, goes much more in depth in terms of finding humanity than in the original. Jenkins gives a quiet, but rather crucial performance. Their dynamic is based upon him finding human blood for her.

Reeves brings his own visual style to the film, though gradually separating the his visual look from the 2008 version. Both settings of each film are fully intact, as much of the bonding between Abby and Owen take place in the courtyard during the winter. The best sequence in the film involves the father inside of a car, and contains a wonderful and difficult POV shot on Reeves' behalf. The 80's trademark of this film isn't overbearing, but is welcome in its attempt to mix the most innocence of pop songs with violent and disturbing murder sequences. Michael Giacchino's chilling score also contributes to the suspense and gripping nature of the story.

As the narrative moves along at a pace I really admired, the story's shape and texture becomes much more sympathetic and bleak. There is definitely more bloodshed in this version, but American audiences will have no problem enjoying that quality. Reeves stays loyal to the original's mood, it's more of a coming of age art house horror film than an all out gore fest. While some may say this remake was unnecessary, I really enjoyed the performances and the cautious directing by Reeves. Even if you've seen the original, you haven't seen "Let Me In."

Grade: 3.5/5