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Top Critics (32)
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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.
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.
A smart horror film that exploits a deep-seated fear in America: subtitle-phobia.
It's still a striking piece of character-driven horror, and it still ranks (despite the effects) among the more understated fright fests to hit the mainstream in recent memory.
What works so well here is the juxtaposition of youthful innocence and downright puppy love with monstrosity and murder. Mean kids are scary. Kids who drink blood are scarier.
It's called Let Me In. That demanding title says something about how the gentle poetry of the original gets lost a bit in Reeves' translation.
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...
It doesn't have the emotional depth or resonance of the original, but it's a sutiable genre entry.
It's winter in Reagan's America...but wasn't it always?
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.
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.
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.
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...
The movie itself, despite its horror trappings, is a surprising testament to how strong the bonds of friendship are at that young, impressionable age.
An unusually beautiful horror film that understands that adolescence isn't one fixed state of past tense, but an ever-shifting, wobbly, see-saw of the wonderful, awful, tedious and potentially permanently damaging.
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.
In many ways, Matt Reeves' vision is both more feral and more vulnerable than the Swedish original...
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.
In a world where on-screen adolescent vampires spew fluffy drivel about love and longing more often than puncturing carotid arteries with gleaming fangs, Let Me In is quite the raw, fresh, and meaty approach.
What becomes apparent is how well the story stands up, and how it still wreaks havoc with our moral compasses.
Unlike most remakes, this is just as good as the original, maybe even better.
A solid vampire remake doubles as a solid work of cinematic vampirism.
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