I send many thanks to Matt Reeves for slipping one past the goalie. For a buzzer beater. For a Hail Mary pass.
I'm not surprised to say I enjoyed Let Me In, Reeves' take on John Ajvide Lindqvist's novel, Let The Right One In. And I enjoyed it much more so than Tomas Alfredson's Swedish film adaptation, Let The Right One In.
Yes, I'm happy to say what could have been a forgettable, pointless, exercise in redundancy greatly exceeded my expectations. I knew Let Me In would be a worthwhile film, but I didn't imagine I'd be heaping so much love its way.
When I saw Let The Right One In, I did not understand its high praise. I found it to be praiseworthy. It was like if Gus Van Sant went to Sweden to make a vampire flick. I did not hate the movie (quite the contrary), but you could count me out of the kind of enthusiasm the film seemed to generate during its theatrical release.
I should disclose this -- I saw Let The Right One In without its original, theatrical subtitles, and I plan to revisit it with its theatrical subtitles intact. But I must admit things are a little hard to top after watching Let Me In.
With a vivid visual style, the actors (especially its child leads), and Michael Giacchino's score, there isn't a false note in this film. Whether or not you think this is a Xerox copy of Alfredson's movie for people who don't like subtitles, this is kind of movie for folks who don't like remakes or American adaptations. Word is Reeves worked on an adaptation long before Alfredon's film came out, so any accusations of a cash-grab should be rendered false. I believe that to be true after watching his take.
So, yes, as someone who has vocally been against the idea of remakes (with some exceptions), I can't recommend this movie enough. That is, if you like films like this. I'm definitely not going to sit my parents down and have them watch.