Black Man vs Train. Black Man wins. Who needs more when you're dealing with a missile the size of the Chrysler building?

Deathly Hallows Part 1

The first part of the last part of the ever-darkening franchise, Deathly Hallows Part 1 is the best film of the lot. Yes, even The Columbus Years.

The Girl who Kicked the Hornets' Nest

This TV movie spends one hour in hospital, one in court. It's basically an episode of Casualty and Kavanagh QC back-to-back.

The American

Veteran hitman shacks up in southern Italy. Sleeps with women. Befriends priest. Takes pretty pictures. Classy stuff.

Potterthon 2010

Poor boy with no friends lives in cupboard under the stairs. Decides to live blog all Harry Potter films in a row. 902 minutes. 6 films. 1 television. Accio life.


Machete don't text. Machete disappointing. Machete better as trailer.

Leap Year

Disturbing, graphic and painful to watch. Yes, it's realistic, but that’s part of what makes it so unpleasant.

Due Date

The Funniest Film Since The Hangover? Due Date ticks every comedy box. Except the one labelled jokes.

Despicable Me

Likeable fun with a lazy conclusion, Despicable Me shoots for the moon, steals it, then lets it go again. Above average, but below Pixar.

https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/375117unstoppabletop.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/296878Voldemort_Harry_Potter_Deathly_Hallows_Wallpaper_2.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/321631hornets_top.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/456263americantop.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/726318HPDH1_05058c.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/836279machete_top.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/419267leapyeartop.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/589146duedatetop.jpg https://i-flicks.net/components/com_gk2_photoslide/images/thumbm/819482despicableme_top.jpg

Star Ratings

Very Good


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Home Reviews Cinema Let Me In
Let Me In Print E-mail
Written by Ivan Radford   
Tuesday, 02 November 2010 08:11
Director: Matt Reeves
Cast: Kodi Smit-McPhee, Chloe Moretz, Richard Jenkins, Elias Koteas
Certificate: 15

Eat some now. Save some for later.

Life is hard when you’re a loner in Los Alamos, Mexico. Bullied at school with only sweet wrappers for company, you reach out into the darkness for any kind of connection. Sometimes the darkness reaches back. And sometimes, a bloke comes along and remakes your story for an American audience.

Owen (Smit-McPhee) is 12 years old. So is Abby (Moretz), his new neighbour. She’s been 12 for a long time. She doesn’t get cold. She doesn’t appear in the daytime. And she has an older man (Jenkins) who goes out at night and butchers teens for blood. When the two young souls meet on an icy climbing frame in Owen’s apartment complex, their relationship rapidly evolves.

Letting each other into their isolated worlds, it’s an unsettling bond to witness up close. And Matt Reeves makes sure we do: his camera often stays at Owen’s eye level, to the point where we feel as detached from his faceless mum as he does. It's a neat touch, teasing out the emotions from his naturally awkward cast.

Like the original Swedish tale of frozen innocence, things are kept tense and tender. But subtlety has jumped right out the hospital window. Mostly thanks to Michael Giacchino's intrusive score. Still, the Cloverfield director matches up well against Tomas Alfredson's Let the Right One In. Let Me In never reaches the delicate heights of the fragile love story, but makes up for missing grace with gore, and lots of explicit blood spillage.

Stalking through the snowy streets, Richard Jenkins’ serial killer has a rhythm to his movements, an ominous sense of momentum. At times, it’s almost more of a crime thriller than a horror; it’s telling that Reeves emphasises the role of Elias Koteas’ bewildered policeman. Removing supporting characters (and the infamous feline encounter), Reeves sticks to the story’s overall structure, but recasts the tale as a more conventional conflict between good and evil. Does it take away some of your sympathy for the young ‘uns? Perhaps. Does it work? Absolutely.

It’s all thanks to the child actors, who nail their formative feelings without fudging the fear. The only major misstep is a questionable use of CGI; Abby’s transformation is now more terrifying, but less tragic. Going all Linda Blair with her face and vocals, it’s a strong contrast to Chloe Moretz’s angelic appearance, but one that almost overshadows it. Fortunately, Smit-McPhee has no such qualms, carrying a pang of naivety that makes him a believably vulnerable target for Abby's clutches.

Together, the pair’s passion makes this more than just an American retread of John Ajvide Lindqvist’s novel. With or without the subtleties, this story should be seen by those scared of subtitles. Justifiably bringing the story to a new audience, Let Me In is something more personal than a mere remake; it’s Reeves' own meditation on innocence and survival.


Not as haunting but still horrific, Let Me In’s remade romance keeps that chilling heart beating. Unsubtle. Sinister. Sweet.


Your rating

( 2 Votes )

  • chloe moretz
  • cloverfield
  • hammer
  • hit girl
  • kick-ass
  • kodi smit-mcphee
  • let me in
  • let the right one in
  • los alamos

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Comments (2)
2Thursday, 04 November 2010 10:33
Ivan Radford
I'm appalled by your mum.

It's not perfect and the original is FAR far better, but as a standalone film in its own right, it's the same story, it's still quite scary, and the performances are great.

Does it need to exist? No. Am I glad subtitle-phobes get to experience the pre-pubescent vampy romance? Hells yes.

I'd much rather this get made than have Americans run around with Twilight blinkers on.
1Thursday, 04 November 2010 07:24
Selina Pearson
4 Stars? A bit appalled.