I would argue that Matt ReevesLet Me In, which I’ve just come out of, is at least as good as Tomas Alfredson‘s Let The Right One In, which Reeves’ film is a remake of. I’m guessing that this view will be regarded as heresy in some quarters, particularly since there’s no denying that much of Let Me In feels like a scene-for-scene, and in some portions a shot-for-shot “copy” rather than a remake.

But it’s very carefully copied with a meticulous, unhurried, highly absorbing style, and there is a Reeves signature of sorts here and there.

Hollywood remakes of European-made hits tend to not be as good — they needlessly gloss them up or water them down or otherwise miss the basic vitality. Let Me In doesn’t do this, in my view. It doesn’t diminish — it respects and pays tribute to the original by keeping what worked — adhering as closely as possible for the most part — and enhancing here and there.

The truth? I liked it better than the original, in part because I’m a much bigger fan of Chloe Moretz‘s Abby (i.e., the little-girl vampire) than the young Swedish actress in Alfredson’s film. Moretz can do no wrong in my book. “Hit Girl” and now this — she’s really got it.

Clint Eastwood’s Hereafter is starting momentarily so that’s all she wrote for now.