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Let Me In (2010)


Average Rating: 7.6/10
Reviews Counted: 219
Fresh: 193
Rotten: 26

Critics Consensus: Similar to the original in all the right ways -- but with enough changes to stand on its own -- Let Me In is the rare Hollywood remake that doesn't add insult to inspiration.

Average Rating: 7.7/10
Reviews Counted: 39
Fresh: 32
Rotten: 7

Critics Consensus: Similar to the original in all the right ways -- but with enough changes to stand on its own -- Let Me In is the rare Hollywood remake that doesn't add insult to inspiration.


Average Rating: 3.7/5
User Ratings: 64,612


Movie Info

Twelve-year old Owen is viciously bullied by his classmates and neglected by his divorcing parents. Achingly lonely, Owen spends his days plotting revenge on his middle school tormentors and his evenings spying on the other inhabitants of his apartment complex. His only friend is his new neighbor Abby, an eerily self-possessed young girl who lives next door with her silent father. A frail, troubled child about Owens's age, Recognizing a fellow outcast, Owen opens up to her and before long, the … More

R (for strong bloody horror violence, language and a brief sexual situation)
Drama , Horror , Romance , Science Fiction & Fantasy
Directed By:
Written By:
Matt Reeves
In Theaters:
Feb 1, 2011
Box Office:
Overture Films - Official Site


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Critic Reviews for Let Me In

All Critics (219) | Top Critics (39) | Fresh (193) | Rotten (26) | DVD (15)

Let Me In is one of the few horror films that will trouble you long after the credits roll.

Full Review… | October 7, 2013
Top Critic

With its mix of true-blood romance and full-moon madness, Let Me In should hasten the twilight of the twerpy pretenders.

Full Review… | October 7, 2013
St. Louis Post-Dispatch
Top Critic

The result, though no less creepy than the Swedish film, mislays its lyricism and otherworldliness.

Full Review… | October 7, 2013
New Yorker
Top Critic

The poetic Swedish vampire picture (with arterial spray) Let the Right One In has been hauntingly well transplanted to the high desert of Los Alamos, New Mexico, and renamed Let Me In.

Full Review… | October 4, 2010
New York Magazine/Vulture
Top Critic

Let Me In is not as fantastic as Let the Right One In, which you should rent immediately. But it is undeniably powerful and made with obvious admiration and respect for the source material.

Full Review… | October 1, 2010
TIME Magazine
Top Critic

A smart horror film that exploits a deep-seated fear in America: subtitle-phobia.

Full Review… | October 1, 2010
Globe and Mail
Top Critic

Matt Reeves has succeeded in presenting the story in a thoughtful, respectful manner, while still Americanizing the Swedish text.

Full Review… | October 14, 2014
Film Threat

Let Me In doesn't need to exist unless, that is, the very notion of Swedish cinema is strange and unpalatable to you.

Full Review… | October 14, 2014
Daily Telegraph

This is a story about two isolated kids making friends in a cold world. Those drops of blood in the snow could have come from anywhere.

Full Review… | October 14, 2014

The film is this year's best horror due to Smit-McPhee and Moretz displaying a vulnerability and a skill in characterization that belies their tender ages.

Full Review… | October 14, 2014
Tulsa World

As far as remakes go, this is a pretty good one.

Full Review… | October 14, 2014
Sydney Morning Herald

Let Me In has a muddled storyline that never quite finds its focus. Every element here is just not as good as it was in the original, making this another pointless remake.

Full Review… | November 9, 2013
We Got This Covered

This version follows the plot and dialogue of its Swedish predecessor, capturing a tender (often blood-splattered) young relationship. But Reeves has upped the suspense and gore, creating a more Hollywood-friendly horror thriller.

Full Review… | October 7, 2013
National Post

Reeves' fresh vision and utterly compelling storytelling more than justify the making of this American iteration that could very well make a surprise appearance on year-end lists the way its predecessor did.

Full Review… | October 7, 2013
Austin American-Statesman

Reeves, for the most part, delivers a film that's every bit as compelling as Alfredson's original.

Full Review… | October 7, 2013
TV Guide's Movie Guide

Let Me In is a brilliantly effective horror film that is a thoroughly gripping and doesn't shirk from its supernatural chills.

Full Review… | October 7, 2013
Screen International

This is one of the best films of its kind in the recent years. It's not better than the original, but that's not what Matt Reeves set out to do - the man wanted to make a solid film and he did just that.

Full Review… | August 28, 2013
Gordon and the Whale

In playing up the bullying, Reeves has Americanized a very good Swedish film without de-fanging it.

Full Review… | January 28, 2013
Movie Nation

Vale la pena verla, por supuesto, pero mi mejor recomendación sería ver (antes o después) la versión sueca. Puede ser incluso un interesante ejercicio de comparación...

Full Review… | August 25, 2011
Uruguay Total

It doesn't have the emotional depth or resonance of the original, but it's a sutiable genre entry.

Full Review… | August 15, 2011
Cinema Sight

It's winter in Reagan's America...but wasn't it always?

Full Review… | June 29, 2011
The Ooh Tray

There was no good reason for this movie to exist beyond a lazy American disinterest in subtitles. But having said that, it's pretty great on its own.

Full Review… | April 4, 2011

Let Me In is slow and thoughtful and its most chilling aspects require consideration after the fact by the viewer rather than simple thrills that wash over you viscerally and are just quickly gone.

Full Review… | March 29, 2011

Audience Reviews for Let Me In

A vampire romance movie that is actually a real vampire movie. Solid in every form. One of the few times I have watched a remake of a foreign film and have to say they did a quality job. An all around quality flick.

John Manard

Super Reviewer

A completely unnecessary remake of Let the Right One in but I'm impressed none the less. It doesn't bring more to the story and Kodi Smit-McPhee reminded me to much of Lukas Haas's character in The Lady in White. I'm afraid I didn't think much of his performance compared to Kare Hedebrant's. I also thought Lina Leandersson was better than Chloe Grace Moretz but I was still pretty impressed by her. What I would say though is that Let Me In was visually more impressive. Less subtle, which was the beauty of the original but some of the scenes where just stunning. The back seat of the car shot is probably one of the most impressive scenes I've ever seen in a film. Very good in its own right but see the original first.

Anthony Lawrie

Super Reviewer


Being a Hollywood remake of an independent foreign film, Let Me In is more mainstream than the original, but has enough similarities with the original to maintain the high quality present in the original. Acting wise, this film is at least on par or even a little better than the original, but the minor changes to the story take a little bit of the bite the original had out of the equation. Visually, this film is superior to the original thanks to a bigger budget. The special effects are better (a horrible cat scene from the original sticks out like a sore thumb as much better in this film) and the gore is more realistic. Other than that, they are basically the same. I really liked both versions of the film and both have elements that are better done in each version, but I would give just a very slight edge to the original for not taking out the main context of the story and sticking to its guns. Both versions are very much worth watching and some of the better horror movies of the past decade.

Josh Lewis

Super Reviewer


I usually don't like remakes. For obvious reasons, specially the American ones. Just to take an example, get a very nice film like Mostly Martha and turn it into the stupid No Reservations. And I just heard that there's a remake to Godard's Breathless with none other than Richard Gere! What's wrong with you guys? If a great film, worldly acclaimed, is not yours, you want to ruin it? Nah. Unfortunately, you think you're doing a really good job. Some foreign films have an economic potential if converted to the "American taste" what, let me explain, is not exclusively to Americans. This below average taste has been spread all over the world mostly because of your powerful film industry, so this is not a critic to a country, but to a "way of life" - let's put it that way - that can be found anywhere. Having said that, let's move to Let Me In.

Having seen Låt den rätte komma and read John Ajvide Lindqvist's novel, I can nothing but laugh out loud - or should I say "cry"? - after seeing Matt Reeves' remake. He not only managed to ruin the original film but the book as well. First of all, the kids. They're too much nice, too much cute, too much trained, too much not convincing (me). If we're going to shoot a remake, let's make sure to change a few things, right? Instead of a blond boy and a brunette girl, let's choose a dark-haired boy and a dark blonde girl and voilà! Now we can copy some scenes, frame to frame, add a little bit of crap to it, and we have a "great" and different film. Anyhow, it'd be better if the differences have remained restricted to the cast. I feel sorry for saying it, but even the bullying is worse here. Americans and their vision of right and wrong had, of course, to justify why that boy has such a nasty behavior: he calls Owen "little girl" and treats him the way he does because his older brother does the same to him. Oh poor little kid!

Still into this good versus evil vision, we have Owen's mom and Abby's "dad", who only looks like Håkan. Of course the pedophile (not suggested in the film) can't be somehow "nice", so he will not only call little Abby fucking bitch and yells at her, as he seems to be the "boss" in all situations. Why does he douse his face with acid? Because that's what Håkan does in Let the Right One In. For not even one second you believe he would do that to protect Abby what, by the way, is not even explained. Now, Owen's mom. It's unbelievable, but true: she is a freaking religious and that must explain everything, right? Divorced parents, fanatic mom, weird boy. And where this comes from? Reeves took this religion thing of the book, but changed it for worst. In the novel, Oskar has a sort of friend, Tommy, an older boy who lives in his building. Tommy's mom is dating the religious police officer, Staffan, that investigates the deaths. What Reeves did was take Lacke and the other drunks off the scene and put Staffan in. Those scenes in the hospital are really in the book, but he is not killed. Talking about scenes and killing, if you watched Let The Right One In you remember that there were two girls with a dog that find the first Håkan's victim, right? Well, to not let such an important thing out, Reeves makes Ginia - the woman that will be attacked by Abby - a "posh girl" walking with her dog. Oh, and I was almost forgetting the worst thing about this film: when thirsty for blood, Abby becomes a mix of Marilyn Manson and the girl from The Exorcist, what it's said to be the great difference between the two films, making Reeve's film more suitable for the terror genre and less romantic than Tomas Alfredson's. Have these critics seem the same film I did? Because Let Me In is much more romantic in a silly way.

First of all, Abby and Owen's relationship develops very fast, specially due to the fact that eight minutes are lost in that useless and typical beginning scene. Also, they're really good kids, no matter if Abby kills people and Owen spies his female neighbour about to have sex. Owen is so nice that, in a normal and innocent idea of sex as sin or 'love in this side, sex in the other', he stops spying Abby when she's changing clothes. Of course that this scene happens mostly because people wouldn't understand the similar scene of Let The Right One In, another reason why Abby says that she's not a girl, she's nothing. If she had only said she is not a girl, people would understand exactly the same as we did in Let The Right One In, where the homosexuality is not clear: she's not a girl, she's a vampire. Not necessary to say much more. Not everything has to be said or shown. I would prefer to wonder what they "talked" in the end than to know that the "trains starts to move".

Other few points: I think the cold light of Let The Right One In works much better than the "warm" yellow one of Let Me In, but yes, I understand that New Mexico is not Stockholm. The music that is an important thing in the Swedish film completely loses its sense in this one. When we meet someone and feel connected, don't we want to show the person a film we like, a song we love? That's what Oskar does, when he put that amazing song to play in vinyl and tries to look cool in front of Eli. The song, "Kvar i min bil", played by Per Gessle, says something like "All of my heart crushed like glass, trashed when you said 'you've got to leave'. Where should I run? What will I come to?" perfectly fits Oskar.

Let The Right One In is one of the few cases where the film is better than the book, a sort of cheesy horror flick. Let Me In is one of several cases where a remake is worse than the original film and the book.

Rubia Carolina

Super Reviewer

Let Me In Quotes

Just so you know, I can't be your friend.
– Submitted by Chris R (7 months ago)
Just so you know, I can't be your friend.
– Submitted by Chris R (7 months ago)
You have to hit back... HARD.
– Submitted by Greg C (2 years ago)
How old are you? Really.
Twelve. But I've been twelve for a very long time...
– Submitted by Nicolò G (2 years ago)
I've been 12 for a vary long time.
– Submitted by Greg C (2 years ago)
– Submitted by Kenneth T (2 years ago)

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