I would argue that Matt Reeves‘ Let 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.