Let Me In (2010)

In the current culture of remakes and re-imaginings Let Me In is notable for a few reasons, firstly it was released just two short years after the original film (itself an adaptation of a book), which was a critical success in its native Sweden and abroad, it was a film I saw and liked a lot. The other notable thing about Let Me In, is that it is a film that is genuinely worthy of discussion in its own right, this is no cynical cash in, it preserves the key themes and emotions of the original, whilst putting a slightly different spin on the story.
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The film tells the story of Owen, a lonely and troubled boy growing up in the early 80s in the isolated town of Los Alamos, New Mexico. His world is shaken by the arrival of Abby, a mysterious girl whom he befriends. It is clear from the off that something isn't right about Abby and the creepy man she lives with and soon enough Owen is drawn into her world. The transposing of the original film's location to the US works surprisingly well, writer and director Matt Reeves (Cloverfield) has used a lot of his own personal experience growing up in a small town to make the early scenes feel authentic and constrictive. Kodi Smit-McPhee plays Oscar, while I wasn't particularly impressed with his work in The Road last year here he really shines, he has an awkward disposition that immediately signals Owen out as a loner, yet he keeps the simmering resentment he harbours always just below the surface. Fresh from her brilliant work in Kick Ass Chloe Moretz once again shows why she is so highly regarded with her work as Abby. She is less alien and strange than her equivalent in the original film, her Abby is more beaten down and repressed. She hides a well of sadness in her eyes throughout and it is a shockingly effective performance that she is able to convince as a 12 year old girls, and something much more dangerous.
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The way the kids relationship is built up is masterful and engrossing, Reeves dials back many of the peripheral characters to focus in on a minute scale and it works to highlight the character's isolation and, despite all the events that surround them, makes their scenes together sweet and warm. However it is difficult, if not impossible, to discuss this film without the shadow of the original hanging over it. If you have never seen Let the Right One In  then Let Me In is every bit as effective, sad and well constructed. But if you have, it can be strange to see certain scenes and shots copied almost verbatim. Similarly is is hard to get out of a mindset of comparing preferred versions of scenes, or characters. With all the good intentions in the world, this film is inextricably tied up with its history and your experience with this will impact your viewing.
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I think with the task at hand, Matt Reeves did just about the best job he could have done with this story and these characters. Michael Giacchino delivers another fantastic score which bridges the gap between horror and quieter emotional moments effectively, and Reeves steady hand refrains from holding back on many of the films darker and more uncomfortable moments. In many ways Let Me In is my favourite version of the story, but the pure fact of it arriving second, and is re-telling a familiar story will always hold it back in many people's minds, which is a real shame as there is a lot to admire here.