This is a good movie. Although there is something that isn't realistic. The bully guy Kenny is way to cruel for a bully. Now I know bullies can be cruel but I doubt that they would be this cruel unless if they were straight up abusive which this guy is. And you know what makes this worse? when the movie was giving dept to this character like when it's revealed that Kenny is bullied himself the movie immediately drops that and it's just him being abusive again. If the movie actually gave more depth to this character than I could feel sympathy for him but no. If the movie revealed that Kenny was abused by his father or something than that would make his actions a lot for justified and understandable but no. Also the movie never gives an explanation for why our main character gets bullied anyway which makes this guy even of an asshole. Anyway there are a few other things that I don't like for example the lighting for the lights outside wasn't very good and the camera work felt kinda weird and unnatural to me but the bully cheractor is the biggest problem I have with this movie.But overall this movie was good. The chemistry between oan and annie was great and I like the mixture between horror and romance.

Well, it's a very well made remake, i need to admit that (besides the unnecessary CGI). But here is my problem with American remakes of foreign flicks in general: Some people say this movie promotes the original, despite the fact that I didn't see any mentions in it (could have missed it?), so there will be people watching this without even knowing it's a remake. And even if it had mentioned the original, I don't think the best way of doing it is by making another WHOLE movie, for me sounds more like getting the chance to profit on someone else's idea. Besides all that, the original is still quite better in every aspect, what makes this piece totally unnecessary and pointless in my opinion. Well, I recommend you to at least go see the original "Let The Right One In (2008)" first if you are still going through this one, unless subtitles are a big deal for you.

When reading about the history of Hammer studios in the UK film mag The Dark Side I noticed a recurring theme on each attempt to revive the studio-the new owners bring out a "big" movie to bring attention to Hammer Horror returning,and then fail to match it (in terms of praise/box office) in their next two or three productions. Whilst having heard about the film when it came out at cinemas,I was not aware that the remake of Let the Right One In (which I've not yet seen!) was a "Hammer Horror" until I saw it mentioned in the BBC listings.Catching a lot of Hammer Horror during IMDb's Horror board October Challenge,I decided to let them in. The plot-The US:1980's Winter:Bullied at school and his divorcing parents having little interest in him,Owen tries to pass the time by spying on the neighbour. Looking in the telescope one night,Owen notices that a young girl and her dad have just moved in. Crossing paths with the girl, (who is walking in the snow barefoot) Owen learns that her name is Abby and asks if she would like to be friends.Accepting his offer,Abby starts to think about how she can hide something from Owen:That she is a vampire. View on the film:Gripping the cold snap seasonal setting of the title,writer/director Matt Reeves & cinematographer Greig Fraser step on the fresh blood snow in stark white lights that give the vampire tale an icy atmosphere. Aiming to keep the film grounded, Reeves sets an inconsistent tone with the special effects,via "practical" (done with under the roof CGI) sequences (backed by a hauntingly dour score from Michael Giacchino) such as a car crash being given an earthiness thanks to Reeves superbly held tracking shots,which are disappointingly undermined by rubbery vampire attacks and fire CGI that appear to have been rushed in post-production,and stand completely at odds with the mature nature of the film.Bringing John Ajvide Lindqvist's novel to the US in the 80's, Matt Reeves smartly uses the period setting to blend pop culture nods with a sharp allegorical theme under the surface,as the TV screens show Reagan making the "Evil empire" speech and putting good/evil in black and white terms,being a complete contrast to the "grey" areas of horror that Owen finds with Abby. For the outbreak of vampire feeding,Reeves keeps the horror linked to the heart felt relationship between Abby and Owen,whose slow-burn growth in their relationship allows Reeves to gradually peel the garlic of Abby's vampire life.Walking in the real snow barefoot (shivers!) the graceful Chloë Grace Moretz gives a mesmerising performance as Abby.Looking ill at ease over revealing the dark side of her life, Moretz sinks her teeth in Abby's wild animal vampire attacks,which are smoothly linked by Moretz to the ice breaking in Abby's romance with Owen.Joined by a terrific Richard Jenkins and Cara Buono, Kodi Smit- McPhee (who reunited with Reeves on Dawn of the Planet of the Apes) gives an excellent performance as Owen.Beaten to a pulp by bullies,McPhee builds on the bruises of Owen with a striking sense of confidence lit by Owen's realisation that no one is simply good or evil,as Owen lets the right one in.

As someone who has (seemingly unfortunately)not watched the original 'Let The Right One In', I have found Reeves' 2010 remake to be one of those understated and under-appreciated gems of film that make me thoroughly happy to have a Netflix account. Truthfully I selected this title with a sigh, wanting a film from the horror genre but grimly aware that most films of the flavour come and go straight into my 'eh' bucket. So imagine my surprise that two days later I am still thinking about the expertly crafted mystery/romance/thriller/horror/growing pains story that can't be singularly lumped into the horror genre without considerable insult to the film.First up is Casting, and for good reason. While many of us sniff at the notion of a good child actor (myself included), I cannot deny that watching Moretz and Smit-McPhee outperform many adult actors at the strangers-turned-romancers story was highly amusing. The on-screen chemistry they share and the adolescent romantic tension they exude is just palpable. Chloe Moretz rightly steals the stage at every turn with a versatile acting ability that far belays her youth. Unfortunately this review is too little, too late to express her talent in words better than other reviews, so I'll sum it up as an all-round powerhouse of a performance.The actor I can't quite shake however is Kodi Smit-McPhee and his role as the quiet and troubled Owen; at school, at home and inside his own psyche. While not necessarily the strongest performance of the film, I think this is the one that truly made it so dark and disconcerting. If everyone loved Haley Joel Osment as the 'sweet kid with a troubled home' character, Smit-McPhee is without doubt the 'victimised child slowly turning serial killer'. From the peeping to the masked knife-wielding, from how he mewls his words and the constant tightness of his shoulders to the almost unflinching gaze at what the normal child would perceive as frightful, Owen is clearly a child who is as much afraid of the day and comfortable at night as the blonde creature he comes to fall for.A pleased nod to the rest of the supporting cast too. While there aren't many secondary roles in this film, Jenkins always brings a good performance to fatherly and guardian roles, and Dylan Minnette pulls off a surprisingly OK bully.With that said and done the real MVP of this is Matt Reeves, who has brought together a remarkable cast and walked them through a purposefully paced atmosphere of fear, curiosity, suspense and the cold. I found the lighting very good: a great contrast of dark corners and shadow against the bare bulbs of urbanised living and crisp white snow. The camera work too sat nicely between wide shots of Owen set apart from his peers and the intimate closed shots of the young acting duo. The only thing I felt nothing special for was the music - a few suspenseful ambiance tracks straight from the thriller shelf at HMV that lead to an overall meh of audio. That said, it did the job.I have read many reviews prior to writing this, comparing it to the 2008 original and being unimpressed with the level of blood and violence in the film. I find myself thankful that I am unencumbered with experience in the original film to draw that conclusion, as Let Me in has the kind of blood and gore that fully appreciates the diet and violence of a vampire without over-saturating the picture through gratuitous red (Blade, anyone? (I sort of enjoyed Blade, but still)).For me personally, a good horror/thriller finds the balance between the PG and the ridiculously bloody, the dull and the pants-wetting. Let Me In nails it - Great casting, engrossing atmosphere, tangible and believable suspense. This film is a beacon of the genre, guiding me back to land where others have left me floundering in the rocks of disappointment.Final note - Don't read this unless you genuinely watched the film.As much as I enjoyed the bittersweet fledgling romance between Owen and Abby, as I come away from the film a few days later I am reminded of the picture Owen finds in her house: Abby and her guardian as children taken a few generations ago. I realise the sourness of a new question - Were they childhood friends, or perhaps was he Abby's past, now aged and dead love interest? Is she less of an innocent child vampire and more of a cunning, manipulative immortal man-eater refreshing her carer/chef by tugging on some lonely heartstrings? It's a whole new film when I think about it this way (remember watching Fight Club for the second time, knowing Jack/Tyler is just a fruit-loop? Yeah, like that).I haven't felt this engaged with a vampire story since Stake Land.