Let Me In

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It is his job to kill people and drain them of blood to keep Abby fed. When the "Father" calamitously bungles this, Abby has to go out and slake her thirst in the traditional manner. For me, the uncomfortable thing about Let Me In is that it amplified my reservation about the original: the vampire scariness was always in danger of being upstaged by the real-world scariness of bullying. If you've never seen Let the Right One In, this is fine.

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But why not just stick on the DVD of the original? And if you must, select English dubbing from the languages menu. Like the original based on a bestselling novel by John Ajvide Lindqvist , the story of a tender bond formed between a year-old social outcast and his lonely new next-door neighbor with a dark secret plays like a decidedly less wispy, pubescent take on the "Twilight" franchise to profoundly disturbing effect.

The first production out of the gate for recently resurrected British horror brand Hammer Films, "Let Me In" should handily bring in new blood while earning the respect of the original's rabid international cult fan base. Reeves, whose previous feature effort was the hit apocalyptic thriller "Cloverfield," immediately establishes the uneasy, foreboding tone as an ambulance wends its way through some seriously dark, stormy and frozen New Mexican terrain subbing nicely for the original's bleak suburban Stockholm backdrop.

After a very brief prologue setting the Reagan-era, "Evil Empire" climate, the time frame retreats somewhat to introduce Owen, a slight, quiet-spoken year-old bully magnet sensitively played by Kodi Smit-McPhee and the remote Los Alamos apartment complex where he lives with his divorced, alcoholic mother. Abby encourages him to retaliate, and pledges to protect him. Abby's companion, Thomas, abducts a local teenager and drains his blood into a jug, only to accidentally spill all of the jug's contents.

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Starving, Abby attacks a neighbor and drinks his blood , killing him and forcing Thomas to dispose of the body. On another night, Thomas hides in the back of another car, but is discovered. In the ensuing struggle, the car falls into a ditch and flips over.

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Trapped, Thomas pours concentrated sulfuric acid on his face, rendering his features unrecognizable and bringing the story back to the first scene. Abby learns what happened and visits Thomas, who lets her drink his blood before falling to his death. That night, Owen is awakened by Abby, who insists he verbally invite her in. She spends the night in his bed and agrees to be his girlfriend. The next day, Owen's class goes ice skating on a river. Cornered by the bullies, Owen hits Kenny with a metal pole, splitting his left ear.

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  5. At the same moment, the students spot the neighbor's body encased in the ice. Later, Owen tries to make a blood pact with Abby.

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    Seeing blood, Abby reveals her vampire form and flees, feeding on another neighbor. The next night, Abby admits to Owen that she is a vampire and that Thomas was not her father. Owen discovers an aged photo of her with Thomas as a young boy. Scared, Owen wants to leave, but he is stopped by Abby, who won't answer his demands on letting him out.

    Owen finally leaves after asking Abby what will she do to him. Owen sneaks out to spend the night at Abby's. In the morning, the detective forces his way into Abby's apartment and finds her asleep, only to be distracted by Owen. Abby wakes and attacks the detective, killing him. Abby tells Owen she will have to leave town. They share a kiss and he watches tearfully as she enters a taxi and leaves. During swim class, Kenny, Jimmy, and their friends ambush Owen and begin to drown him, only to be dismembered by Abby.

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    The next day, Owen leaves town on a train, traveling with a large trunk. From inside, a message in Morse code is tapped out. Owen smiles and taps out a response. According to Hammer Films executive producer Nigel Sinclair , interest in the project initially began in the middle of , before the original Let the Right One In had screened for audiences. It's not a reimagining; the same beats [are there], maybe the scares are a little bit more scary. I don't call it his remake or his re-imagining of it.

    He has stated on numerous occasions that he is not in favor of remaking his film. And I don't think mine is," he said. It's not like we're remaking Lawrence of Arabia. Writer John Ajvide Lindqvist, on the other hand, says that Reeves told him that he "will make a new film based on the book, and not remake the Swedish film" and so "it'll be something completely different, but it's going to be really interesting to see. I think it could be a really touching, haunting and terrifying film. I'm really excited about what it could be", he said. I'm so drawn to it for personal and not mercenary reasons I hope people give us a chance.

    I said I read the book too and was completely taken with it and I was really intrigued how personal the story felt. I thought John Lindqvist had written this terrific story, and he also adapted it for the film I wrote Lindqvist and told him that it wasn't just that I was drawn to the story because it was a brilliant genre story—which it is—but also because of the personal aspect of it.

    It really reminds me of my childhood.

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    In adapting the film , a few adjustments were made, such as changing the names of the protagonists to Owen and Abby, [22] and moving the setting from the Stockholm suburb of Blackeberg to "a small New Mexico town. But there are some things that hopefully don't detract and fit into the context of the story. It's a mixture of details from the book, the original film and things that grew out of adapting it. He used Ronald Reagan 's " evil empire speech " as an example of American thought during that period.

    Reeves stated, "The idea of Reagan's 'evil empire' speech and that whole sort of school of thought was that evil was something that was outside of us. Evil was 'Other,' it was over there, it was the Soviets ". Reeves felt that this idea was central to the main character Owen, as he "would be grappling with these very, very dark feelings but being in a kind of American town where there was that sort of [Reagan era] mindset and religiousness.

    How would you fit in? How would you feel about yourself being confused and being 12 or 13 years old and not knowing what it means that you wish you could kill those kids who were terrorizing you every day? The humanity of that. Principal photography began in Albuquerque, New Mexico on November 2, Los Alamos County granted a special request from the film's director and producer to name the town in the movie "Los Alamos, New Mexico.

    After viewing Bright Star , he hired Greig Fraser as his cinematographer because he admired Fraser's work with natural light on the film. Spielberg instructed Reeves to have the two leads each keep a diary in character with the intention of sharing with Reeves what they wrote in it. Reeves stated, "It was all a process of trying to, not only guide them, but in places, trying to let them guide me toward their perspective. That was important. Method Studios was contracted to handle the film's visual effects work.

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    The studio's supervisor Sean Faden , worked alongside the film's visual effects supervisor, Brad Parker throughout the production. Several of the film's scenes proved to be a challenge for the team. Director Reeves wanted the "car-crash" sequence to appear as if it were filmed uncut in first-person.

    Jenkins' stunt double and a dummy were placed in the car as the rotisserie spun with additional effects work used to animate the dummy as the car rolled. The two shots were then combined to deceive the viewer into believing that it was one complete shot. Faden noted the techniques used in another challenging shot important to Abby's character in which she begins bleeding when she enters Owen's apartment without invitation.

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