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Let Me In (2010)

tomatometer

88

Average Rating: 7.6/10
Reviews Counted: 214
Fresh: 189 | Rotten: 25

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.

82

Average Rating: 7.8/10
Critic Reviews: 38
Fresh: 31 | Rotten: 7

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.

audience

76

liked it
Average Rating: 3.7/5
User Ratings: 63,735

My Rating

Movie Info

John Ajvide Lindqvist's celebrated vampire novel makes the leap to the big screen once again with the second feature adaptation in so many years (Tomas Alfredson's critically acclaimed 2008 hit Let the Right One In, being the first). The sensitive target of vicious bullying at school, 12-year-old Owen (Kodi Smit-McPhee) is a social misfit from a broken home. By day Owen dreams about laying waste to his classroom tormentors; by night his attentions turn to his reclusive neighbors in their austere

R,

Drama, Horror, Romance, Science Fiction & Fantasy

Matt Reeves

Feb 1, 2011

$12.1M

Overture Films - Official Site External Icon

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All Critics (214) | Top Critics (38) | Fresh (189) | Rotten (25) | DVD (15)

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

October 7, 2013 Full Review Source: Newsday
Newsday
Top Critic IconTop Critic

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

October 7, 2013 Full Review Source: St. Louis Post-Dispatch
St. Louis Post-Dispatch
Top Critic IconTop Critic

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

October 7, 2013 Full Review Source: New Yorker
New Yorker
Top Critic IconTop 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.

October 4, 2010 Full Review Source: New York Magazine
New York Magazine
Top Critic IconTop 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.

October 1, 2010 Full Review Source: TIME Magazine | Comment (1)
TIME Magazine
Top Critic IconTop Critic

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

October 1, 2010 Full Review Source: Globe and Mail | Comment (1)
Globe and Mail
Top Critic IconTop Critic

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.

November 9, 2013 Full Review Source: We Got This Covered
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.

October 7, 2013 Full Review Source: National Post
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.

October 7, 2013 Full Review Source: Austin American-Statesman
Austin American-Statesman

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

October 7, 2013 Full Review Source: TV Guide's Movie Guide
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.

October 7, 2013 Full Review Source: Screen International
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.

August 28, 2013 Full Review Source: Gordon and the Whale
Gordon and the Whale

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

January 28, 2013 Full Review Source: Movie Nation
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...

August 25, 2011 Full Review Source: Uruguay Total
Uruguay Total

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

August 15, 2011 Full Review Source: Cinema Sight | Comment (1)
Cinema Sight

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

June 29, 2011 Full Review Source: The Ooh Tray | Comments (2)
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.

April 4, 2011 Full Review Source: Movies.com | Comments (2)
Movies.com

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.

March 29, 2011 Full Review Source: ComingSoon.net
ComingSoon.net

This film makes me angry. Not because it's bad - I gave it four stars - but because it's unneccessary and shows up one of the biggest problems with Hollywood and audiences.

March 24, 2011 Full Review Source: The Standard | Comments (3)

For anyone who can be bothered to read subtitles, it is essentially a pointless endeavour, but Let Me In has a strident regard for what made the original so enthralling...

March 14, 2011 Full Review Source: What Culture | Comments (2)
What Culture

Apesar de ser um esforço digno (e mesmo um ótimo filme), soa apenas como uma empreitada comercial, não como um projeto movido por ambições artísticas.

February 5, 2011 Full Review Source: Cinema em Cena
Cinema em Cena

In many ways, Matt Reeves' vision is both more feral and more vulnerable than the Swedish original...

February 1, 2011 Full Review Source: MSN.com
MSN.com

Reeves ramps up the action ... and spells out some things that were only hinted at by his Swedish precursor... but [his film] remains chilling and touching in equal measure.

January 31, 2011 Full Review Source: Movie Talk
Movie Talk

Audience Reviews for Let Me In

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.
January 17, 2014
SirPant

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.
December 11, 2013
jlewis07

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.
November 10, 2013
5oclockcoffee

Super Reviewer

    1. Abby: Just so you know, I can't be your friend.
    – Submitted by Chris R (35 days ago)
    1. Abby: Just so you know, I can't be your friend.
    – Submitted by Chris R (40 days ago)
    1. Abby: You have to hit back... HARD.
    – Submitted by Greg C (18 months ago)
    1. Owen: How old are you? Really.
    2. Abby: Twelve. But I've been twelve for a very long time...
    – Submitted by Nicolò G (18 months ago)
    1. Abby: I've been 12 for a vary long time.
    – Submitted by Greg C (2 years ago)
    1. Abby: GO AWAY!
    – Submitted by Kenneth T (2 years ago)
View all quotes (14)

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