2010 Running time: 116 Certificate: 15 Rating: 4

Synopsis

The American remake of the Scandinavian vampire classic Let The Right One In casts Kick-Ass star Chloe Moretz as the pint-sized bloodsucker who gets chummy with a lonely 12-year-old boy. Cloverfield director Matt Reeves screws tight the tension, relocating the action from Stockholm to New Mexico and excising some of the more problematic sequences from the original. Chilling stuff.

Director

  • Matt Reeves

Cast

  • Chloe Moretz

  • Kodi Smit-McPhee

  • Richard Jenkins

  • Cara Buno

Review

The buzz surrounding Tomas Alfredson's 2008 Swedish vampire chiller Let The Right One In ensured that covetous movie execs quickly had their eyes on a Hollywood remake.

Fortunately, it's fallen to Cloverfield director Matt Reeves to rework the original with an impressive cast including Kick Ass's Chloe Moretz as the demurely adolescent bloodsucker and The Road's Kodi Smit-McPhee as the lonely boy who befriends her.

Bullied at school and living with his alcoholic mother, young Owen's interest is piqued when he watches as a young girl - barefoot in the snow - moves into the apartment next door with what he assumes is her father (Jenkins).

He's not. In fact, he's a sort of guardian who preys on the unwary, strings them up, slits their throat and then decants blood from their twitching bodies into a jerry can. Abby (Moretz) then tucks into her fresh supply of still-warm rhesus negative. She's a vampire.

Yet she doesn't regard Owen as lunch. In fact, she quietly morphs into his protector as the two become close and the school bullies step up their harassment campaign. Bad idea.

Reeves has stuck pretty faithfully to Alfredson's vision but dispenses with some of the dafter elements (the barking scene where - in a sequence where Garfield meets The Birds - a woman is attacked by hysterical cats has been completely cut).

Technically, it's more impressive, with Abby's visceral attacks on her unsuspecting victims lent a gory mania and one set-piece where the camera stays in a car after it's been sideswiped by a road train is terrifyingly impressive.

What has been lost is the eerie atmosphere of Alfredson's disturbing original, a surreal wander in other-worldliness with Scandinavia's icy atmosphere adding to the general feeling of cold dread.

It's an impressive, thoughtful version with Reeves' reverence for his source material winning through and the performances of his two young leads well up to snuff.