What would you do, if you just couldn't change, so set in your ways, with habits quite strange; how would you live, in a divisive world, when the city's awake, while you're hidden and furled; would you hold out your hand, to stave off the brink, would you stake all you've got, just float and not sink; when you look in the mirror and nothing is there, in the darkness of night, only pain and despair; then a saviour appears, with their own set of fears, an innocent soul, undefiled, sincere; someone to trust, a protector by day, who'll carry your secret and promise to stay; unaware of the pact that you've drawn them into, endeavours they'll end up performing for you; until the time comes, to repeat and replay, like a school game of tag, I think it's called, child's play.
657 Reviews
Brilliantly original work of art, both horrifying and tender
larry-41113 May 2008
"Let the Right One In" is, at its heart, a sweet coming-of-age story which is so unique and different that it simply defies categorization. In this Swedish film, adapted from John Ajvide Lindqvist's bestselling book, director Tomas Alfredson dares to mix pleasure and pain in a way that is both horrifying and tender.
"Let the Right One In" has a storyline which, although it reveals some secrets early on, is best left as a surprise. So this will necessarily be one of those rare reviews in which the less said about the plot the better. 12-year-olds Oskar (Kare Hedebrant) and Eli (Lina Leandersson) meet one snowy afternoon at a jungle gym in the courtyard of Oskar's housing complex outside Stockholm. Their young, tender attraction for each other is apparent right from the start and we think we know where their relationship is headed. But there is a deep dark secret to be discovered here and when it's revealed the audience is both repulsed and curiously fascinated at the same time, in a similar fashion as when yellow crime scene tape brings us closer rather than warning us away.
The supporting cast is completely beholden to the narrative as it revolves around the adorable young couple, whose performances rival the best I've ever seen for actors of that age. The innocence and vulnerability of Hedebrant's Oskar is simply a tour-de-force and he admirably carries the film on his little shoulders. Leandersson matches him scene by scene, line by line, and the result literally gave me chills.
Production values are stellar, with all technical aspects -- lighting, original music by Johan Soderqvist, and Hoyte Van Hoytema's cinematography -- combining in perfect synchronization to produce a Hitchockian tale that somehow brings love and light into what could have been the darkest drama imaginable.
"Let the Right One In" was the overwhelming choice for Best Narrative Feature after its North American Premiere here at the 2008 Tribeca Film Festival. It is a truly well-deserved honor. Tomas Alfredson has crafted a brilliant work of art that left me shaking my head with wonder.
"Let the Right One In" has a storyline which, although it reveals some secrets early on, is best left as a surprise. So this will necessarily be one of those rare reviews in which the less said about the plot the better. 12-year-olds Oskar (Kare Hedebrant) and Eli (Lina Leandersson) meet one snowy afternoon at a jungle gym in the courtyard of Oskar's housing complex outside Stockholm. Their young, tender attraction for each other is apparent right from the start and we think we know where their relationship is headed. But there is a deep dark secret to be discovered here and when it's revealed the audience is both repulsed and curiously fascinated at the same time, in a similar fashion as when yellow crime scene tape brings us closer rather than warning us away.
The supporting cast is completely beholden to the narrative as it revolves around the adorable young couple, whose performances rival the best I've ever seen for actors of that age. The innocence and vulnerability of Hedebrant's Oskar is simply a tour-de-force and he admirably carries the film on his little shoulders. Leandersson matches him scene by scene, line by line, and the result literally gave me chills.
Production values are stellar, with all technical aspects -- lighting, original music by Johan Soderqvist, and Hoyte Van Hoytema's cinematography -- combining in perfect synchronization to produce a Hitchockian tale that somehow brings love and light into what could have been the darkest drama imaginable.
"Let the Right One In" was the overwhelming choice for Best Narrative Feature after its North American Premiere here at the 2008 Tribeca Film Festival. It is a truly well-deserved honor. Tomas Alfredson has crafted a brilliant work of art that left me shaking my head with wonder.
The most fantastic and original dark fantasy starring a child since "Pan's Labyrinth"
Benedict_Cumberbatch26 October 2008
Tomas Alfredson's "Let The Right One In" is an original, dark, twisted and gory horror fantasy, one of those special films that are hard to classify. Not merely an exercise in style, his film is a brilliant piece of amoral storytelling, and even if some characters' actions defy any logic or common sense (I don't wanna spoil any moment here, but you'll know what I mean when the first revenge moment of the story happens), they seem to be there just to remind you that this is just a fantasy tale (but not for the little ones!). Oskar (Kåre Hedebrant) is a 12 year-old bullied boy that befriends and develops an innocent crush on his new neighbor, Eli (Lina Leandersson), who happens to be a vampire. What comes next is a twisted tale of revenge and pubescent love, made with visual flair (the swimming pool scene is already classic), creative directing and impressive performances by the young pair of protagonists.
Hollywood, of course, didn't waste time and already announced an upcoming remake for those who are too lazy to read subtitles. Most likely, the remake will turn out to be PG-13 in order to make more money, and be filled with moral values so the prudish parents will let their kids watch the movie (don't they know "The Little Vampire" was made years ago?). Ignore the future bomb and enjoy the original - you're in for a treat! 10/10.
Hollywood, of course, didn't waste time and already announced an upcoming remake for those who are too lazy to read subtitles. Most likely, the remake will turn out to be PG-13 in order to make more money, and be filled with moral values so the prudish parents will let their kids watch the movie (don't they know "The Little Vampire" was made years ago?). Ignore the future bomb and enjoy the original - you're in for a treat! 10/10.
A Risk Worth Taking
tawdry_hepburn22 October 2008
Warning: Spoilers
Let the Right one In is like no other vampire movie that I have ever seen. It is smarter, scarier and more nuanced. It doesn't feel like a thriller, it feels like literature.
The film, which details the bizarre misadventures of a pair of pre-teen star crossed lovers, one of whom is an androgynous vampire, is phenomenal in almost every regard. The details of young Oskar's (Kare Hedebrant) life are spot on. Stuck in that incredibly painful period of post-childhood, pre-adolescence, Oskar is aware of girls, but has no idea how to contend with them. He is small for his age and is brutalized by other boys as a result. He's terribly alone and collects news clips of violent crimes as a way of letting out his rage. One day a strange young girl named Eli (Lina Leandersson) appears on the playground. They become fast friends and things begin to look up for Oskar. Eli even (innocently) spends the night on occasion.
Meanwhile, we are privy to some things that Oskar doesn't know. As it happens, Eli's caretaker is a serial killer of the most brutal order, desanguinating his victims into a bucket. Soon, Oskar comes to realize that his new friend is a bit more than she seemed at first.
After a tragedy of shocking violence Eli is left to fend for herself, trying desperately to stave off the urge to drink fresh blood while also forming a delicate new bond with Oskar.
There is already a remake of Let the Right one In on the way. But don't wait for it. There is no way it could ever hope to capture the magic of the original. It's not just that this film is gorgeously shot. Not just that it is impeccably written. Not just that it is fully realized with an unmatched respect for vampire lore. It is all in the acting. Even if the producers find two amazing young actors, the odds against recapturing the brilliant, melancholy chemistry are astronomical.
Everything about Let the Right one In is thought through. Where a more traditional horror film might have opted for endless ultra violence or else cut everything out in favor of a kiddie friendly rating. director Tomas Alfredson steers the line right down the middle. When the violence comes it is brutal and horrific, but it is never dwelt upon. We are left to question what we just saw rather than see kidneys on display.
Too, there is a great stillness to the film. The first half of the film it mimics Oskar's stage. Stuck in between. Never moving, with no hope of growth. But as things begin to change, it becomes apparent that the stillness is not for Oskar but rather for Eli. Oskar will grow up, change and become a man. Eli is stuck in a much more burdensome fate.
And then there is the quiet, understated ending. Some will find it haunting, others will find it whimsical, I went back and forth more than a few times. No two people will have the same understanding.
This is the kind of movie people beg for. Don't miss it. This is the first time since perhaps Silence of the Lambs that a horror film had a real chance to take home some Oscar gold. And not only that, it will deserve it.
A+
The film, which details the bizarre misadventures of a pair of pre-teen star crossed lovers, one of whom is an androgynous vampire, is phenomenal in almost every regard. The details of young Oskar's (Kare Hedebrant) life are spot on. Stuck in that incredibly painful period of post-childhood, pre-adolescence, Oskar is aware of girls, but has no idea how to contend with them. He is small for his age and is brutalized by other boys as a result. He's terribly alone and collects news clips of violent crimes as a way of letting out his rage. One day a strange young girl named Eli (Lina Leandersson) appears on the playground. They become fast friends and things begin to look up for Oskar. Eli even (innocently) spends the night on occasion.
Meanwhile, we are privy to some things that Oskar doesn't know. As it happens, Eli's caretaker is a serial killer of the most brutal order, desanguinating his victims into a bucket. Soon, Oskar comes to realize that his new friend is a bit more than she seemed at first.
After a tragedy of shocking violence Eli is left to fend for herself, trying desperately to stave off the urge to drink fresh blood while also forming a delicate new bond with Oskar.
There is already a remake of Let the Right one In on the way. But don't wait for it. There is no way it could ever hope to capture the magic of the original. It's not just that this film is gorgeously shot. Not just that it is impeccably written. Not just that it is fully realized with an unmatched respect for vampire lore. It is all in the acting. Even if the producers find two amazing young actors, the odds against recapturing the brilliant, melancholy chemistry are astronomical.
Everything about Let the Right one In is thought through. Where a more traditional horror film might have opted for endless ultra violence or else cut everything out in favor of a kiddie friendly rating. director Tomas Alfredson steers the line right down the middle. When the violence comes it is brutal and horrific, but it is never dwelt upon. We are left to question what we just saw rather than see kidneys on display.
Too, there is a great stillness to the film. The first half of the film it mimics Oskar's stage. Stuck in between. Never moving, with no hope of growth. But as things begin to change, it becomes apparent that the stillness is not for Oskar but rather for Eli. Oskar will grow up, change and become a man. Eli is stuck in a much more burdensome fate.
And then there is the quiet, understated ending. Some will find it haunting, others will find it whimsical, I went back and forth more than a few times. No two people will have the same understanding.
This is the kind of movie people beg for. Don't miss it. This is the first time since perhaps Silence of the Lambs that a horror film had a real chance to take home some Oscar gold. And not only that, it will deserve it.
A+
The best vampire film I have ever seen!!
lorcan-6188127 December 2016
Let the right one in is a crime drama horror film about a boy named Oscar living in a small Swedish town who's bullied by his classmates while his mother works nights. One night,a young girl moves next door named Eli. The two become friends and Oscar discovers how intelligent Eli is but she has a secret,all of the grisly murders in the town have lead up to Eli and soon Oscar discovers her dark,dark secret. Let the right one in was a originally a Swedish book written by a John something something. The book spawned a sequel called 'Let The Old Dreams Die' and it also become an American remake named 'Let Me In' starring Chloe Grace Mortez,I didn't like the remake cause I thought it wasn't realistic at all. This film was absolutely stunning that it became one of my favourite vampire movies. The book I bought before and I read a few pages but it wasn't as good as the film. From two young Swedish actors who you'd expect to be bad but they were actually brilliant as if they had acted before. Please watch this film!!
A dark dark tale, masterfully told
BenjAii10 November 2008
Warning: Spoilers
So many people reviewing this film on IMDb seem to focus on the sweet friendship between it's 12 year old human and vampire leads. While this is a huge element of the film, this is a sweet story of childhood friendship in the same way 'The Godfather' is the story of a fathers concerns and worries for his kids; both true descriptions, its just that you would be missing the point if you came away from either film thinking that is what you had seen.
In truth, 'Let the right one in' is about as dark a film as you can get, and its a measure of its brilliant story telling that having seen it a week ago, its disturbing echoes have stayed with me and refuse to go away.
It's also one of those films best enjoyed without prior knowledge, but impossible to review properly without disclosing plot elements, so be warned - SPOILERS AHEAD.
As another comment here has said, it's the character Håkan that is the key to this story; for at the end of the film we are led to believe Oskar is stepping into his place. It is that fact, revealed in the final scene that gives the film its dark and nightmarish core; the blossoming friendship we have been witness to prior to this will offer no redemption to Oskar if this is path his relationship with Eli takes.
Håkan butchers boys not much older than Oskar as food for Eli. In this story, where the storytelling is of the highest order so many of its darkest whispers are just that, hinted and suggested at. Questions are alluded to that play on the mind, but are never answered. Why does Håkan pick these victims ? presumably they are Eli's preference. What does that say about Eli's interest in Oskar ? What is Eli's true nature ? She has been twelve "for a very long time", but we briefly glimpse her true physical age, in fact she is in late middle age; roughly the same age as Håkan. Her gift to Oskar in the films last moments; the brutal slaughter of his child tormentors. Entranced in her glamour, this makes Oskar happy, but how can this be happy or good ?
And then they go off happily into the sunset, Oskar presumably to be deadened to the soul destroyed husk of a person Håkan had become, butchering his fellow humans to provide Eli with food. You can see why I am puzzled when people think this film is sweet. In fact its conclusion is utterly chilling; Oskar has happily swapped the commonplace misery of childhood bullying for a fate that will truly be hell on earth and you know as he happily smiles in the films last shot that he doesn't have a clue.
None the less, it's superlative and a film I would heartily recommend. Like the greatest horror tales it succeeds by suggestion and playing on the imagination. It is also a truly great addition to the vampire cannon, a thing that can be said of very few variations on Bram Stokers brilliant original.
In truth, 'Let the right one in' is about as dark a film as you can get, and its a measure of its brilliant story telling that having seen it a week ago, its disturbing echoes have stayed with me and refuse to go away.
It's also one of those films best enjoyed without prior knowledge, but impossible to review properly without disclosing plot elements, so be warned - SPOILERS AHEAD.
As another comment here has said, it's the character Håkan that is the key to this story; for at the end of the film we are led to believe Oskar is stepping into his place. It is that fact, revealed in the final scene that gives the film its dark and nightmarish core; the blossoming friendship we have been witness to prior to this will offer no redemption to Oskar if this is path his relationship with Eli takes.
Håkan butchers boys not much older than Oskar as food for Eli. In this story, where the storytelling is of the highest order so many of its darkest whispers are just that, hinted and suggested at. Questions are alluded to that play on the mind, but are never answered. Why does Håkan pick these victims ? presumably they are Eli's preference. What does that say about Eli's interest in Oskar ? What is Eli's true nature ? She has been twelve "for a very long time", but we briefly glimpse her true physical age, in fact she is in late middle age; roughly the same age as Håkan. Her gift to Oskar in the films last moments; the brutal slaughter of his child tormentors. Entranced in her glamour, this makes Oskar happy, but how can this be happy or good ?
And then they go off happily into the sunset, Oskar presumably to be deadened to the soul destroyed husk of a person Håkan had become, butchering his fellow humans to provide Eli with food. You can see why I am puzzled when people think this film is sweet. In fact its conclusion is utterly chilling; Oskar has happily swapped the commonplace misery of childhood bullying for a fate that will truly be hell on earth and you know as he happily smiles in the films last shot that he doesn't have a clue.
None the less, it's superlative and a film I would heartily recommend. Like the greatest horror tales it succeeds by suggestion and playing on the imagination. It is also a truly great addition to the vampire cannon, a thing that can be said of very few variations on Bram Stokers brilliant original.
A Nutshell Review: Let The Right One In
DICK STEEL12 February 2009
The cinematic vampires I've seen to date in cinemas recently have usually been the ramped up sexy versions, where it's either black leather on lithe female frames, or dreamy hunks to whom teenage girls would sacrifice their necks to in order to live with their lover boy forever.
While the release of Twilight had made a lot of noise in the commercial theatres last year and raking in an obscene amount of money sending fan-girls into a frenzy, one vampire movie has been making its rounds very successfully in the film festival circuit, and the accolades garnered thus far have been nothing less than stellar. Come next week, you too will know why, as Let The Right One In (LTROI) gets its deserved commercial release here.
LTROI is pared down to the very basics, and that in itself is a refreshing take thanks to John Ajvide Lindqvist's story and Tomas Alfredson's assured direction, both confident that there's absolutely no need for artificial spices to spruce up the film. We have the need for plasma for survival, the human type and not cherry ade from animals and tomatoes. Sunlight kills immediately and fiercely, not to introduce some industrial light and magic moments to glitter with sparkle dust. And their condition forces them to be in isolation, because killing sprees bring unwanted attention, but weakness from dawn to dusk means a caretaker is never far. Find out too what the title means, as I believe it's probably a step boldly taken to define certain consequences.
The emotions of their two leads were relied on heavily to bring the narrative forward in what essentially is a very quiet film until feasting time. Eli (Lina Leandersson) arrives in a small town with her minder Hakan (Per Ragnar), who provides for a number moments filled with dark humour no thanks to the unfortunate situations he finds himself stuck in while preparing meals. Their neighbour is a timid boy Oskar (Kare Hedebrant), who has school playground politics problems because of the constant taunting from schoolmates, thus coasting through his existence imagining himself fighting back for some respect, but afraid to translate his bravado for real with that knife he carries around.
Children are such that, with a certain degree of confidence, putting two-two together, you're likely to see a friendship being struck with little or no prejudice. Coming from lonely backgrounds, both strike an almost immediate friendship, despite Eli being able to come out only at night, and some very obvious hints of her nocturnal prowess. To Oskar, Eli is his first real friend who through love, gives him the courage and encouragement to face up to his demons. It's a tender love story between the two even after Oskar's discovery of the true identity of his best friend. But like best friends, such are secrets between themselves, and nothing in the world is going to change that.
It's kinda terrifying knowing that the Oskar in a way condones the killings that Eli commits, and the direction here to show that is unflinching. Given the atmospherically quiet moments, it magnifies every point when the hunter snacks on its prey, with the patches of warm blood staining the pale white face of a child, thanks also to some nifty make up, and special effects where it mattered. The noisy violence is in stark contrast to its more touching moments, especially if one thinks that Hakan's life is a suggestion to what Oskar's would eventually be if he so decides to follow down the same slippery slope. The toning down of pedophilia, as does Eli's sexual ambiguity, allows for this thought to fester.
I hate to do a comparison here between a truly great genre film and one that aspired to reach its heights, but I guess since many would be familiar with Twilight, allow me to indulge then why LTROI makes Twilight eat sparkle dust. For starters, the latter is your typical Hollywood blockbuster treatment where everything has to be explicitly shown and in verbatim. LTROI leaves it to the greatest tool you possess - your imaginative mind, and that in itself accentuates the level of horror that goes unseen, and giving that all round creepy feeling to it too.
Twilight had a teenage angst romance that was quite childish. LTROI shows how the innocence of love could be miles more mature, with its tender moments here making Bella Swan and Edward Cullen look like adults with bored sex lives. Gone too are (what I deem now as) nonsensical pop and rock tunes peppering the aural track, and the clever use of silence (i.e. knowing when to shut up) served only to highlight genuine tension and impending doom. Yes LTROI is less showy, but miles more effective in its storytelling craft and technique.
For a genuinely satisfying vampire movie, Let The Right One In nails it and deserves being Highly Recommended.
P.S. Hollywood now wants to remake this. Now that's a truly terrifying thought!
While the release of Twilight had made a lot of noise in the commercial theatres last year and raking in an obscene amount of money sending fan-girls into a frenzy, one vampire movie has been making its rounds very successfully in the film festival circuit, and the accolades garnered thus far have been nothing less than stellar. Come next week, you too will know why, as Let The Right One In (LTROI) gets its deserved commercial release here.
LTROI is pared down to the very basics, and that in itself is a refreshing take thanks to John Ajvide Lindqvist's story and Tomas Alfredson's assured direction, both confident that there's absolutely no need for artificial spices to spruce up the film. We have the need for plasma for survival, the human type and not cherry ade from animals and tomatoes. Sunlight kills immediately and fiercely, not to introduce some industrial light and magic moments to glitter with sparkle dust. And their condition forces them to be in isolation, because killing sprees bring unwanted attention, but weakness from dawn to dusk means a caretaker is never far. Find out too what the title means, as I believe it's probably a step boldly taken to define certain consequences.
The emotions of their two leads were relied on heavily to bring the narrative forward in what essentially is a very quiet film until feasting time. Eli (Lina Leandersson) arrives in a small town with her minder Hakan (Per Ragnar), who provides for a number moments filled with dark humour no thanks to the unfortunate situations he finds himself stuck in while preparing meals. Their neighbour is a timid boy Oskar (Kare Hedebrant), who has school playground politics problems because of the constant taunting from schoolmates, thus coasting through his existence imagining himself fighting back for some respect, but afraid to translate his bravado for real with that knife he carries around.
Children are such that, with a certain degree of confidence, putting two-two together, you're likely to see a friendship being struck with little or no prejudice. Coming from lonely backgrounds, both strike an almost immediate friendship, despite Eli being able to come out only at night, and some very obvious hints of her nocturnal prowess. To Oskar, Eli is his first real friend who through love, gives him the courage and encouragement to face up to his demons. It's a tender love story between the two even after Oskar's discovery of the true identity of his best friend. But like best friends, such are secrets between themselves, and nothing in the world is going to change that.
It's kinda terrifying knowing that the Oskar in a way condones the killings that Eli commits, and the direction here to show that is unflinching. Given the atmospherically quiet moments, it magnifies every point when the hunter snacks on its prey, with the patches of warm blood staining the pale white face of a child, thanks also to some nifty make up, and special effects where it mattered. The noisy violence is in stark contrast to its more touching moments, especially if one thinks that Hakan's life is a suggestion to what Oskar's would eventually be if he so decides to follow down the same slippery slope. The toning down of pedophilia, as does Eli's sexual ambiguity, allows for this thought to fester.
I hate to do a comparison here between a truly great genre film and one that aspired to reach its heights, but I guess since many would be familiar with Twilight, allow me to indulge then why LTROI makes Twilight eat sparkle dust. For starters, the latter is your typical Hollywood blockbuster treatment where everything has to be explicitly shown and in verbatim. LTROI leaves it to the greatest tool you possess - your imaginative mind, and that in itself accentuates the level of horror that goes unseen, and giving that all round creepy feeling to it too.
Twilight had a teenage angst romance that was quite childish. LTROI shows how the innocence of love could be miles more mature, with its tender moments here making Bella Swan and Edward Cullen look like adults with bored sex lives. Gone too are (what I deem now as) nonsensical pop and rock tunes peppering the aural track, and the clever use of silence (i.e. knowing when to shut up) served only to highlight genuine tension and impending doom. Yes LTROI is less showy, but miles more effective in its storytelling craft and technique.
For a genuinely satisfying vampire movie, Let The Right One In nails it and deserves being Highly Recommended.
P.S. Hollywood now wants to remake this. Now that's a truly terrifying thought!
Right Next Door...
azathothpwiggins2 February 2022
Warning: Spoilers
LET THE RIGHT ONE IN is a superior vampire film. There's an innocent yet terrifying atmosphere to it. At its heart it's a love story punctuated by horror and jarring violence. Unlike most such films, it's emotionally fulfilling as well as frightening.
Oskar's (Kare Hedebrant) loneliness and isolation are palpable. There's a sense of genuine suffering, whether he's being bullied at school, or ignored at home. Eli (Lina Leandersson) is inadvertently the answer to Oskar's prayers. Their warm relationship offsets the greyness and cold of the climate, as well as the disturbing nature of Eli's hunger.
There are so many incredible scenes: The hospital visit, the swimming pool, etc., all working so well because we actually care about the main characters. The final scene on the train is poignant because we know that Oskar is mortal, and has entered into the same situation as his predecessor Hakan (Per Ragnar).
If only all horror / vampire movies could be this engaging...
Oskar's (Kare Hedebrant) loneliness and isolation are palpable. There's a sense of genuine suffering, whether he's being bullied at school, or ignored at home. Eli (Lina Leandersson) is inadvertently the answer to Oskar's prayers. Their warm relationship offsets the greyness and cold of the climate, as well as the disturbing nature of Eli's hunger.
There are so many incredible scenes: The hospital visit, the swimming pool, etc., all working so well because we actually care about the main characters. The final scene on the train is poignant because we know that Oskar is mortal, and has entered into the same situation as his predecessor Hakan (Per Ragnar).
If only all horror / vampire movies could be this engaging...
A Masterpiece
crmang17 October 2008
I am not particularly fond of the vampire genre, but this movie is so much more. It is artistic, poetic, and in many ways a very profound movie exploring the nature of good and evil. It does so through the world of a child where both pure evil and pure goodness are somewhat discernible, and it achieves an astounding array of contrasts that allow us to see that good and evil can coexist side by side. Doing so, this movie is very thought-provoking, leaving the audience yearning to read the novel. In short, this movie is a gem. There is no need to remake this movie which according to IMDb.com they will be. You don't need to wait until 2010, you should watch this movie now.
A perfect winter night's movie
Stevieboy66623 December 2020
Twelve year old Oskar (Kare Hedebrant) lives with his mother in an apartment block, at school he is called Piggy and is relentlessly bullied by three other boys. Then he meets his neighour Eli (Lina Leandersson), who tells him "I am twelve, but I have been twelve for a long time" - brilliant! Oskar is a bright kid, a series of murders in which victims are drained of blood and Eli's ability to climb walls combined with her nocturnal lifestyle leads him to ask if she is a vampire.
Let the Right One In is a vampire movie, but it is more than just horror, it is also a coming of age drama and indeed a love story. The two leads are amazing, two of the best child performances that I have seen. One other thing that impressed me was the snow covered Swedish landscape, not only does it look wonderful but it gives the film a cold, bleak look.Red blood on snow, very effective. This movie isn't for everyone - if you don't speak fluent Swedish then it means subtitles, and at almost two hours it may prove too long for viewers who become impatient with slow burners. This was my second viewing, both times during Winter as I think watching it during warmer months may lessen the impact. Essential viewing for lovers of European horror and contemporary vampires.
Generally don't watch foreign films but this is a masterpiece
UniqueParticle21 March 2022
A very well made vampire burning horror experience! I love the main characters and how everything was filmed. The horror is glorious; Let The Right One should be among the top vampire films. Lost Boys, Interview with a Vampire, Vampire by John Carpenter is magnificent, Blade trilogy is great and I really like 30 Days of Night I'd recommend any of these for sure. I should watch more foreign films they are top notch!
This film is the best vampire film in my life during 25 years in cinema world.
ilovetoseethemovie17 November 2008
I saw it in Bangkok International Film Festival 2008 and love this movie very much.
It has something big and stunning about this lovely storyline to rivet my attention from the beginning to the end. Moreover, the cinematography and atmosphere in this film are undeniably superb. The chemistry between two preteen protagonists is outstanding and very believable. Everything in this film is well-made in synchronization.
This is the first film related to a vampire that I think is least connected to Vampire's teeth baring at audience all the times, like other familiar horror we used to see. Other than some gory scenes in this film, we can yet see some flesh and blood moment of humane Vampire. And that is truly written to the core plot.
The last scene at swimming pool is totally mesmerizing and mind-blowing.
By the way, if Sweden submits this movie to be in competition with other nominees around the world for Oscar foreign-language film category this year, this masterpiece should win or at least be short-listed for the final fives.
10 out of 10
It has something big and stunning about this lovely storyline to rivet my attention from the beginning to the end. Moreover, the cinematography and atmosphere in this film are undeniably superb. The chemistry between two preteen protagonists is outstanding and very believable. Everything in this film is well-made in synchronization.
This is the first film related to a vampire that I think is least connected to Vampire's teeth baring at audience all the times, like other familiar horror we used to see. Other than some gory scenes in this film, we can yet see some flesh and blood moment of humane Vampire. And that is truly written to the core plot.
The last scene at swimming pool is totally mesmerizing and mind-blowing.
By the way, if Sweden submits this movie to be in competition with other nominees around the world for Oscar foreign-language film category this year, this masterpiece should win or at least be short-listed for the final fives.
10 out of 10
Best Vampire Film there is.
roondogbb24 May 2021
I have watched many vampire films, but absolutely none come close to this film in terms of gauging the tragedy of what it means to be a vampire. Ann Rice's Interview With a Vampire, good as that film is, stand behind this film.
So why is it good? You may be asking? Because many movies (especially modern movies) fail at good story telling and cinematography with vampire films. Often we get a gore fest and something without much substance beyond that. Yet the concept of vampires are as old as the vampires themselves and they are ingrained in the mythology of many cultures. So they deserve better treatment than a gore fest film.
This film (A Swedish film) tells the story of a young vampire called (Eli) and the young boy that she befriends (Oskar). Oksar is a bullied lonely child in his town and gets picked on. And seems to connect with nobody until he connects with Eli. I could go into detail about how this all happens but its honestly more magical to watch some films without having seen the trailer etc. To enjoy every seen as it comes along for the first time. So I'll not give anything away.
Also, take note there American remake is absolutely terrible, do not watch that first. It was created for lazy reasons. Such as people not willing to read subtitles. But all the magic was lost and the production took a fall.... Its also important to note that this film is based on a book written by John Ajvide Lindqvist a Swedish Author.. So being a Swedish movie, set in sweden. Is how the original author probably imagined it.
So please watch this film if you're a vampire film fan. Its easily a 10/10. Being in my top 10 films.
So why is it good? You may be asking? Because many movies (especially modern movies) fail at good story telling and cinematography with vampire films. Often we get a gore fest and something without much substance beyond that. Yet the concept of vampires are as old as the vampires themselves and they are ingrained in the mythology of many cultures. So they deserve better treatment than a gore fest film.
This film (A Swedish film) tells the story of a young vampire called (Eli) and the young boy that she befriends (Oskar). Oksar is a bullied lonely child in his town and gets picked on. And seems to connect with nobody until he connects with Eli. I could go into detail about how this all happens but its honestly more magical to watch some films without having seen the trailer etc. To enjoy every seen as it comes along for the first time. So I'll not give anything away.
Also, take note there American remake is absolutely terrible, do not watch that first. It was created for lazy reasons. Such as people not willing to read subtitles. But all the magic was lost and the production took a fall.... Its also important to note that this film is based on a book written by John Ajvide Lindqvist a Swedish Author.. So being a Swedish movie, set in sweden. Is how the original author probably imagined it.
So please watch this film if you're a vampire film fan. Its easily a 10/10. Being in my top 10 films.
Let's remake this excellent movie?
bain003815 December 2008
At it's worst "Let the Right One In" is far too subtle and slow and nothing like typical horror movies, (if it should be considered one.) At its best its one of the better films we've seen in the last decade. As a foreign film it should see wider American distribution and publicity than any such film since"Crouching Tiger, Hidden Dragon."
Our hero here, who is just twelve, is so perfectly likable and so well played he is the sort of boy you'd want to raise, or the sort you'd want your child to end up with. He's richly contemplative and caring, lonely, but not broken, cool, but not pretentious, precocious and yet without arrogance. Who knew that he would fall for a vampire?
It's a story more like "Dr. Jekyll and Mr. Hyde" than " The Lost Boys." It's more about asceticism and existentialism than blood and gore. I won't give any details away, but this film is neither convoluted nor cliché. Sure, it's not amongst the best stories. It's not a formula film, but it's intelligently written and doesn't start anything it doesn't conclude, (well not too much).
Beautifully shot in a snowy and desolate Swedish town, the film very much carries on a world of its own. The film as an entirety is subtle, even slow. Likewise the effects are far from showy, making tasteful use of CGI with kitties or watching our vampire climb seven stories.
The sound does not rely on a creepy score, nor attempts a hip or ambient soundtrack. Instead, it successfully amplifies the sounds of its fictional and isolated universe, (which is far away from reality and amid somewhere in the early 1980s.) For the most part we only hear what the characters or the world around them, gusts of wind, the brushing of teeth, The Clash. Though most notable is all of the silence, all of the stillness that creeps about keeping the viewer mystified and engaged.
What the film does is allow adequate time for the viewer to develop a consciousness about the situation of the story. It allows us to make our own determinations without being told what to conclude. Throughout the entire movie I could only count one legitimate flaw, a tiny divisive issue, which I'm sure was mulled over by a brilliant director and screenwriter.
It certainly won't be for everyone. It's not for those who can't read. It's not for kids. And it's not for those who can't bear non-traditional story telling. For me, the film was a breath of fresh air in an increasingly tiring and rehashed film industry. At least this film is rehash of a different kind.
This film should have seen a slew of Oscar nods and it seemed to me this film could have had a wide release. Nevertheless it will turn out to be a classic.
Our hero here, who is just twelve, is so perfectly likable and so well played he is the sort of boy you'd want to raise, or the sort you'd want your child to end up with. He's richly contemplative and caring, lonely, but not broken, cool, but not pretentious, precocious and yet without arrogance. Who knew that he would fall for a vampire?
It's a story more like "Dr. Jekyll and Mr. Hyde" than " The Lost Boys." It's more about asceticism and existentialism than blood and gore. I won't give any details away, but this film is neither convoluted nor cliché. Sure, it's not amongst the best stories. It's not a formula film, but it's intelligently written and doesn't start anything it doesn't conclude, (well not too much).
Beautifully shot in a snowy and desolate Swedish town, the film very much carries on a world of its own. The film as an entirety is subtle, even slow. Likewise the effects are far from showy, making tasteful use of CGI with kitties or watching our vampire climb seven stories.
The sound does not rely on a creepy score, nor attempts a hip or ambient soundtrack. Instead, it successfully amplifies the sounds of its fictional and isolated universe, (which is far away from reality and amid somewhere in the early 1980s.) For the most part we only hear what the characters or the world around them, gusts of wind, the brushing of teeth, The Clash. Though most notable is all of the silence, all of the stillness that creeps about keeping the viewer mystified and engaged.
What the film does is allow adequate time for the viewer to develop a consciousness about the situation of the story. It allows us to make our own determinations without being told what to conclude. Throughout the entire movie I could only count one legitimate flaw, a tiny divisive issue, which I'm sure was mulled over by a brilliant director and screenwriter.
It certainly won't be for everyone. It's not for those who can't read. It's not for kids. And it's not for those who can't bear non-traditional story telling. For me, the film was a breath of fresh air in an increasingly tiring and rehashed film industry. At least this film is rehash of a different kind.
This film should have seen a slew of Oscar nods and it seemed to me this film could have had a wide release. Nevertheless it will turn out to be a classic.
This is just a beautiful movie
dschmeding18 August 2008
Warning: Spoilers
"Let the right one in" is just a very huge surprise and a plain beautiful movie. You can always judge how much impact a movie has when you watch the crowd in the cinema while the credits roll and in this one barely anyone dared to stand up and go... I guess they were all busy swallowing their tears because this movie is a real tearjerker.
The movie is a unique mix of a vampire movie with love story and drama. The story is told in a very slow style but this just fits the story about two kids who meet at night on a playground. One is the introvert outsider Oskar who gets bullied at school and has a strange interest for knives and murder stories and the other is Eli, a girl that just moved in next door to him with what we expect is her dad. Immediately when they tape the windows shut with cardboard and dad goes out at night knocking out boys to drain their blood into a bottle we know that Eli is not an ordinary child but rather a vampire that sleeps at day and only comes out at night and like she tells Oskar has been 12 years old for a very long time. From here on the relationship between the two deepens while some cracks appear between Eli and her "dad" who fails at providing her with blood. When Elis Dad dies after trying to find a victim for Eli she is left on her own and soon the small town finds dead people in the snow. The story how Eli became what she is now is not through flashbacks but rather through a woman that is bitten by her and survives, turning into a vampire herself. The classic vampire movie elements were used in a very unique way, especially the title-giving invitation to come in. The use of special effects in this movie is brilliant ... like when the cats turn against a vampire when sensing it or the short and rough final scene when Oskar is dunked under water. Basically the story deals with the old sad story of the curse of immortality and how everything withers around the vampire except for himself. But the way this is placed in a children's environment and how Eli approaches Oskar is special. In the end the viewer is left to judge on his own... is this a heartbreaking love story, is Eli using Oskar or is it both as a natural way that life demands of their fate? When thedramatic piano music fades on you are sure thinking about this and inthat way the movie is great, subtle and different. The acting especially of the 2 lead children is great and the casting for Eli is beyond perfect because she has something hypnotic in her eyes that captures a lot of her character by the first time she appears on screen. I guess this is a movie not to be missed, no matter if you like vampire movies or not... this should appeal to anyone in a way.
The movie is a unique mix of a vampire movie with love story and drama. The story is told in a very slow style but this just fits the story about two kids who meet at night on a playground. One is the introvert outsider Oskar who gets bullied at school and has a strange interest for knives and murder stories and the other is Eli, a girl that just moved in next door to him with what we expect is her dad. Immediately when they tape the windows shut with cardboard and dad goes out at night knocking out boys to drain their blood into a bottle we know that Eli is not an ordinary child but rather a vampire that sleeps at day and only comes out at night and like she tells Oskar has been 12 years old for a very long time. From here on the relationship between the two deepens while some cracks appear between Eli and her "dad" who fails at providing her with blood. When Elis Dad dies after trying to find a victim for Eli she is left on her own and soon the small town finds dead people in the snow. The story how Eli became what she is now is not through flashbacks but rather through a woman that is bitten by her and survives, turning into a vampire herself. The classic vampire movie elements were used in a very unique way, especially the title-giving invitation to come in. The use of special effects in this movie is brilliant ... like when the cats turn against a vampire when sensing it or the short and rough final scene when Oskar is dunked under water. Basically the story deals with the old sad story of the curse of immortality and how everything withers around the vampire except for himself. But the way this is placed in a children's environment and how Eli approaches Oskar is special. In the end the viewer is left to judge on his own... is this a heartbreaking love story, is Eli using Oskar or is it both as a natural way that life demands of their fate? When thedramatic piano music fades on you are sure thinking about this and inthat way the movie is great, subtle and different. The acting especially of the 2 lead children is great and the casting for Eli is beyond perfect because she has something hypnotic in her eyes that captures a lot of her character by the first time she appears on screen. I guess this is a movie not to be missed, no matter if you like vampire movies or not... this should appeal to anyone in a way.
Trust the Swedish to beautifully and smartly reinvent the "vampire" genre...
ElMaruecan8212 January 2020
I was reluctant to use "vampire" in the title for I thought the film was better left without any specific knowledge of its main theme... but then how could I properly review Tomas Alfredson's "Let The Right One In" without mentioning what it's all about?
But let's not beat around the bush: the film is a vampire movie and one of the best of its genres because it subverts every known archetype without averting any and that's only one of the facets of a multi-layered but not complex and surprisingly easy-to-follow movie, set in the early 80s.
Oskar is a young boy, 12 or 13, effeminate looking, the son of divorced parents, constantly bullied by a pint-sized kid named Conny and a few other followers who call him "pig" and make "squealing" noises and rude contacts whenever they have a chance. The film opens with the line "I bet you can squeal like a pig", that indicates how nightmarish Oskar's life is and makes us hope for a 'deliverance'. Watching him half-naked and reaching the window with his hand, I was reminded of that opening scene in "Persona" but Ebert rightfully recalls a similar moment in "The Silence" and I guess Bergman could have made that film, the hand to the window conveying the Bergmanian entrapment in a meaningless life.
Indeed, Oskar spends his time between his separated parents, neither of them appearing to be helpful or understanding, and his solo actions consists on imagining the right comeuppance to his bullies, which any kid in that situation might relate to. Now, why having a bullied kid in a vampire movie? The answer is in the question.
We don't see Eli before she meets Oskar and her peculiarity for some reason doesn't provide obvious clues about her nature. She doesn't dress warm, only appears at night and she shares her life with an adult named Hakan, who could be his father. She grows an immediate liking on Oskar, maybe because she feels as an outcast too, though she's far from the 'victim' type. Their relationships start as a strange puppy romance between a badass girl and a timid boy. Meanwhile, we see Hakan killing a man at night and hanging him upside down to drawn blood from his neck only to be interrupted by a dog. He's later reprimanded by a voice that seems to belong to an adult woman.
It's interesting how the mystery is kept until the second killing... that doesn't come too late after the first failed attempt when Eli decides to handle the matter herself and collect the blood through natural means, by killing one of the locals. Hakan's job Is to dispose the body and the ice helps.
So the narrative is divided into three separate parts: first, the viewer's discovery about Eli. Then, it's for Oskar to understand who "she" is and I say "she" because, as the romance grows, Eli reveals that she's not exactly a girl and being a vampire is beside the consideration of her gender. Finally, it's how the romance ties the bullying subplot together. Both are deeply connected anyway.
Consider the fact that we have two acts of gratuitous and horrific violence in the beginning, one isn't lethal but evil lies in both and so does blood. After all, Oskar imagines getting even with his tormentors not exactly in diplomatic ways. Bullying can either provoke, lead to, or make you fantasize about bloodshed.
Then we understand why Eli needs blood and the murders, while horrific and graphic, take a whole new perspective. It's a violence with reasons that asserts the bestial nature of vampires in a way that "Interview With the Vampire" expressed through Louis, a vampire who doesn't enjoy his ordeal but is left with no choice. The horror is the same and yet we're more affected by the bullying endured by Oskar for a simple reason: it has none. And the film draws the line between human nature and animals: the latter kill for survival and the former destroy for fun, for the sake of it. The film doesn't exactly take side by sugarcoating the killings as Eli's victims are all innocent people and we're also given some insights about the ordeal of being a vampire, like what happens when they enter a room uninvited or what a mortal decides to do when she turns into one. Anyway, let's get to the final pivot which is the reveal.
When Oskar understands what Eli is, he doesn't change his mind, being an outcast made him empathize even more with her and being in love sure helps. Finally, the director anticipates the viewer' expectations and gets a closure on both the bullying and the romance, if all Eli's victims are innocent, it's not like the film is deprived of villains (the book from John Ajvide Lindqvist had even more) that could make the "killings" enjoyable to a pervert degree.
For instance, Oskar tries to improve physically and defend himself, in a key scene, he does get the upper hand on Conny and I almost felt sorry for the little brat, especially when Oskar is taking delight from the blood on Conny's ear like Cartman with Scott Tenerman's tears, as if bullying had already started to plant the bad seeds, as if the coming-of-age aspect of the story was to be sealed in bloody letters.
I have just completed a "bullying" chapter in my English courses (I'm a teacher) and among the consequences of bullying, like moving, depression and suicide, I wish I could be more complete and have "violence" as one of them or maybe the sheer enjoyment of violence. If the film avoids the cliché of making the victim a bully, the way the two plots converge in the climax left me both shocked and satisfied, which was quite disturbing.
Trust the Swedish school to make a horror film that toys with the notions of villain and victim, and makes violence understandable and satisfying without it being pleasurable or entertaining.
But let's not beat around the bush: the film is a vampire movie and one of the best of its genres because it subverts every known archetype without averting any and that's only one of the facets of a multi-layered but not complex and surprisingly easy-to-follow movie, set in the early 80s.
Oskar is a young boy, 12 or 13, effeminate looking, the son of divorced parents, constantly bullied by a pint-sized kid named Conny and a few other followers who call him "pig" and make "squealing" noises and rude contacts whenever they have a chance. The film opens with the line "I bet you can squeal like a pig", that indicates how nightmarish Oskar's life is and makes us hope for a 'deliverance'. Watching him half-naked and reaching the window with his hand, I was reminded of that opening scene in "Persona" but Ebert rightfully recalls a similar moment in "The Silence" and I guess Bergman could have made that film, the hand to the window conveying the Bergmanian entrapment in a meaningless life.
Indeed, Oskar spends his time between his separated parents, neither of them appearing to be helpful or understanding, and his solo actions consists on imagining the right comeuppance to his bullies, which any kid in that situation might relate to. Now, why having a bullied kid in a vampire movie? The answer is in the question.
We don't see Eli before she meets Oskar and her peculiarity for some reason doesn't provide obvious clues about her nature. She doesn't dress warm, only appears at night and she shares her life with an adult named Hakan, who could be his father. She grows an immediate liking on Oskar, maybe because she feels as an outcast too, though she's far from the 'victim' type. Their relationships start as a strange puppy romance between a badass girl and a timid boy. Meanwhile, we see Hakan killing a man at night and hanging him upside down to drawn blood from his neck only to be interrupted by a dog. He's later reprimanded by a voice that seems to belong to an adult woman.
It's interesting how the mystery is kept until the second killing... that doesn't come too late after the first failed attempt when Eli decides to handle the matter herself and collect the blood through natural means, by killing one of the locals. Hakan's job Is to dispose the body and the ice helps.
So the narrative is divided into three separate parts: first, the viewer's discovery about Eli. Then, it's for Oskar to understand who "she" is and I say "she" because, as the romance grows, Eli reveals that she's not exactly a girl and being a vampire is beside the consideration of her gender. Finally, it's how the romance ties the bullying subplot together. Both are deeply connected anyway.
Consider the fact that we have two acts of gratuitous and horrific violence in the beginning, one isn't lethal but evil lies in both and so does blood. After all, Oskar imagines getting even with his tormentors not exactly in diplomatic ways. Bullying can either provoke, lead to, or make you fantasize about bloodshed.
Then we understand why Eli needs blood and the murders, while horrific and graphic, take a whole new perspective. It's a violence with reasons that asserts the bestial nature of vampires in a way that "Interview With the Vampire" expressed through Louis, a vampire who doesn't enjoy his ordeal but is left with no choice. The horror is the same and yet we're more affected by the bullying endured by Oskar for a simple reason: it has none. And the film draws the line between human nature and animals: the latter kill for survival and the former destroy for fun, for the sake of it. The film doesn't exactly take side by sugarcoating the killings as Eli's victims are all innocent people and we're also given some insights about the ordeal of being a vampire, like what happens when they enter a room uninvited or what a mortal decides to do when she turns into one. Anyway, let's get to the final pivot which is the reveal.
When Oskar understands what Eli is, he doesn't change his mind, being an outcast made him empathize even more with her and being in love sure helps. Finally, the director anticipates the viewer' expectations and gets a closure on both the bullying and the romance, if all Eli's victims are innocent, it's not like the film is deprived of villains (the book from John Ajvide Lindqvist had even more) that could make the "killings" enjoyable to a pervert degree.
For instance, Oskar tries to improve physically and defend himself, in a key scene, he does get the upper hand on Conny and I almost felt sorry for the little brat, especially when Oskar is taking delight from the blood on Conny's ear like Cartman with Scott Tenerman's tears, as if bullying had already started to plant the bad seeds, as if the coming-of-age aspect of the story was to be sealed in bloody letters.
I have just completed a "bullying" chapter in my English courses (I'm a teacher) and among the consequences of bullying, like moving, depression and suicide, I wish I could be more complete and have "violence" as one of them or maybe the sheer enjoyment of violence. If the film avoids the cliché of making the victim a bully, the way the two plots converge in the climax left me both shocked and satisfied, which was quite disturbing.
Trust the Swedish school to make a horror film that toys with the notions of villain and victim, and makes violence understandable and satisfying without it being pleasurable or entertaining.
Twilight vs. Let the right one in: immaturity vs classics
c994321 December 2008
I have watched both Twilight and Let the Right one in.
I strongly feel that Let the Right outruns Twilight on almost EVERY SINGLE ASPECT, except, of course, advertisement, due to the inequality of budgets. (a Swedish director vs a Hollywood one, come on...) If Twilight is no more than an idol gallery under the skin of vampire horror, Let the Right one in is such a film that completely redefines people's perception on traditional vampire horrors.
There aren't many gory scenes or special visual impacts, unlike Twilight being fraught with computer generated scenes. Plus, the pace of Let the Right is slow, without many exaggerations. Yet, the audience could feel the profound impact of the film within, an impact that totally transcends cheap sensory stimuli, while exerting a quiet yet POWERFUL "shake" upon people's soul.
I felt very upset that an American remake will be done next year. From our common sense, we could deduct how the remake would be compared to the original. Before the remake ruins the story, do yourself a favour watching the originals!!!
If you feel yourself mentally more mature than 15 y.o., go watch Let the Right on in instead of Twilight. You will NOT regret your choice.
I strongly feel that Let the Right outruns Twilight on almost EVERY SINGLE ASPECT, except, of course, advertisement, due to the inequality of budgets. (a Swedish director vs a Hollywood one, come on...) If Twilight is no more than an idol gallery under the skin of vampire horror, Let the Right one in is such a film that completely redefines people's perception on traditional vampire horrors.
There aren't many gory scenes or special visual impacts, unlike Twilight being fraught with computer generated scenes. Plus, the pace of Let the Right is slow, without many exaggerations. Yet, the audience could feel the profound impact of the film within, an impact that totally transcends cheap sensory stimuli, while exerting a quiet yet POWERFUL "shake" upon people's soul.
I felt very upset that an American remake will be done next year. From our common sense, we could deduct how the remake would be compared to the original. Before the remake ruins the story, do yourself a favour watching the originals!!!
If you feel yourself mentally more mature than 15 y.o., go watch Let the Right on in instead of Twilight. You will NOT regret your choice.
A great story about early adolescence, revenge, and yes, vampires
ponderous31 May 2008
I saw several movies at the Seattle International Film Festival this year, and Let the Right One In was by far my favorite of the bunch. It's primarily a movie about how friendship can help you find your own personal strength. Two lonely children meet and change each other's lives. The fact that one is a vampire makes the movie even more interesting and unique, but it's not the most important plot detail. The cold darkness of Sweden makes the perfect backdrop for the story. It was so refreshing to see a vampire movie that doesn't rely upon cheap scares, fangs and gore. The only scene I didn't enjoy involved cats with computer animated faces - it looked very stupid and out of place, but this was a small disappointment in an otherwise outstanding film. I highly recommend this movie.
Pure brilliance
wiepske29 January 2008
Warning: Spoilers
I saw this movie yesterday at the official premiere at the Rotterdam Film Festival in Holland. I didn't know anything beforehand, and i was blown away. The film is a strange mix; it includes romantic elements, horror. Kisses and love, but also blood and death. And it's told in a straightforward manner, as if this all was very normal and like every film is made like this.
I don't wanna give too much away, but in involves falling in love with a vampire. Highly original.
Beautiful style and cinematography. Every shot was gorgeous. Shame about the music, which was too attention grabbing and melodramatic.
The child actors were very good. Also in the minor parts.
I never before saw a child covered with blood. And kissing. And yes, it's disturbing sometimes, but no, this is no exploitation. It's heartfelt and beautiful. I don't know the book on which this is based. Probably, if you're from Sweden, know the book and envisioned it for yourself, it will be different.
I don't wanna give too much away, but in involves falling in love with a vampire. Highly original.
Beautiful style and cinematography. Every shot was gorgeous. Shame about the music, which was too attention grabbing and melodramatic.
The child actors were very good. Also in the minor parts.
I never before saw a child covered with blood. And kissing. And yes, it's disturbing sometimes, but no, this is no exploitation. It's heartfelt and beautiful. I don't know the book on which this is based. Probably, if you're from Sweden, know the book and envisioned it for yourself, it will be different.
Pretty slow (bear with me, I didn't miss the point)
Superunknovvn14 December 2008
I am going to give you a very subjective view on this much praised Swedish vampire movie. Objectively, there's nothing wrong with it. It's a coming of age story with vampire elements that takes its time to unfold. The direction is tasteful, the acting is good (as far as I can tell, speaking not one word Swedish) and the movie is certainly one of a kind.
Still, personally I didn't enjoy "Låt den rätte komma in" too much and had to fight my way through it. It's just so damn slow, which I'm aware is intentional. Life in this middle-of-nowhere-town, where the characters of "Låt den rätte komma in" live, is damn slow. I did like that new approach to horror. It's not as fairy tale-like as Guillermo del Toro's work, it's not spiced with a forced twist at the end like M. Night Shyamalan's movies and it sure as hell isn't your everyday Hollywood slasher or Asian ghost story. It's just a drama anchored in real life with a few horror elements thrown in. So, yeah, as I've said, this is an original movie. Only problem is, as a horror movie it's neither shocking, nor spooky. As a drama "Låt den rätte komma in" is okay, but the horror elements are just a bit out of place.
A lot of people will love the movie for exactly the same reasons that I was pretty much bored throughout the entire 120 minutes running time. Let's say that "Låt den rätte komma in" is good, but not for everyone, and certainly not for every horror buff. You might wanna give it a try to find out which category of people you belong in. If you don't like the movie after the first 15 minutes, though, you might as well turn it off, as it doesn't get any different from then on.
Still, personally I didn't enjoy "Låt den rätte komma in" too much and had to fight my way through it. It's just so damn slow, which I'm aware is intentional. Life in this middle-of-nowhere-town, where the characters of "Låt den rätte komma in" live, is damn slow. I did like that new approach to horror. It's not as fairy tale-like as Guillermo del Toro's work, it's not spiced with a forced twist at the end like M. Night Shyamalan's movies and it sure as hell isn't your everyday Hollywood slasher or Asian ghost story. It's just a drama anchored in real life with a few horror elements thrown in. So, yeah, as I've said, this is an original movie. Only problem is, as a horror movie it's neither shocking, nor spooky. As a drama "Låt den rätte komma in" is okay, but the horror elements are just a bit out of place.
A lot of people will love the movie for exactly the same reasons that I was pretty much bored throughout the entire 120 minutes running time. Let's say that "Låt den rätte komma in" is good, but not for everyone, and certainly not for every horror buff. You might wanna give it a try to find out which category of people you belong in. If you don't like the movie after the first 15 minutes, though, you might as well turn it off, as it doesn't get any different from then on.
Typically classy Swedish vampire story
Leofwine_draca17 August 2016
Warning: Spoilers
This is one of those little European horror films that seem to come out of nowhere every now and then to blow the world away. LET THE RIGHT ONE IN is a Swedish effort that tackles the overdone vampire genre in a unique, subtle way that falls some way between the two main types of vampire film at the moment: the teen-friendly romances a la TWILIGHT and the ultra-gory thrills a la 30 DAYS OF NIGHT. It's far better than either of those films, a lyrical, touching and often haunting exploration of adolescence that just happens to feature one of the main characters as a vampire. Thankfully, the bloodsucking antics are kept low key, but even so I thought they were sometimes a little over the top (the bit where Eli climbs a tree has some obvious wire work that took me straight out of the film).
The film's at its best when it's a touching portrait of puberty, including all the usual staples: evil bullies at school, unloving parents, the sense of being an outsider, and overwhelming loneliness. The young cast are fine, with Kare Hedebrant particularly good as the beleaguered boy and Lina Leandersson as the put-upon vampire girl. I found the scene in which they innocently shared a bed to be the best in the whole movie. Otherwise, there's romance here and some bloodletting, including a wonderful set-piece climax in a swimming pool of all places that finishes the film superbly. It may not be an effects-filled bonanza or a movie that blows you away, but LET THE RIGHT ONE IN is instead a mature and reflective exploration of some very dark themes.
The film's at its best when it's a touching portrait of puberty, including all the usual staples: evil bullies at school, unloving parents, the sense of being an outsider, and overwhelming loneliness. The young cast are fine, with Kare Hedebrant particularly good as the beleaguered boy and Lina Leandersson as the put-upon vampire girl. I found the scene in which they innocently shared a bed to be the best in the whole movie. Otherwise, there's romance here and some bloodletting, including a wonderful set-piece climax in a swimming pool of all places that finishes the film superbly. It may not be an effects-filled bonanza or a movie that blows you away, but LET THE RIGHT ONE IN is instead a mature and reflective exploration of some very dark themes.
He's not a zombie! He's my brother!
funkyfry29 March 2009
Warning: Spoilers
I didn't much care for this bleak Swedish tale of prepubescent vampire first love. Of course the one thing I would really say for it, is that I've never really seen another movie like it. So that's some points for that in my book. But I didn't really like what I saw. Sometimes you can have a drab color scheme that adds up to a very beautiful film, but in this case the film just bored me visually for the most part. Child actors are notoriously risky, and these two did a good job. But the adult actors did not impress me.
There are a lot of moments in the film that strike me as needlessly violent, a sort of graphic intrusion into the more romantic or bucolic theme of the movie. As a horror movie it's a complete failure. As a strange sort of Gothic romance, it's all right but I imagine there are better out there. There isn't much to the relationship between these two, except a Rubic's cube and a bunch of empty space. The idea of the movie as I take it is that the two children have nothing else in their lives so of course they were drawn to each other. We're supposed to be filled with anger as the adorable little boy is abused horribly by the cruel bullies, and then cheer when he fights back. It reminded me of a lot of generic after-school movies that I've seen. The whole thing ends in a grotesque revenge scenario worthy of Tarantino, and just as stylishly and pointlessly conveyed for its own graphic sake.
There are a lot of moments in the film that strike me as needlessly violent, a sort of graphic intrusion into the more romantic or bucolic theme of the movie. As a horror movie it's a complete failure. As a strange sort of Gothic romance, it's all right but I imagine there are better out there. There isn't much to the relationship between these two, except a Rubic's cube and a bunch of empty space. The idea of the movie as I take it is that the two children have nothing else in their lives so of course they were drawn to each other. We're supposed to be filled with anger as the adorable little boy is abused horribly by the cruel bullies, and then cheer when he fights back. It reminded me of a lot of generic after-school movies that I've seen. The whole thing ends in a grotesque revenge scenario worthy of Tarantino, and just as stylishly and pointlessly conveyed for its own graphic sake.
Taking the Vampire out of the Horror Movie, and the Horror out of the Vampire Movie
MacAindrais13 November 2008
Warning: Spoilers
Let the Right One In (2008) ****
The one thing I keep reading about Let the Right One In is how it's such a unique horror movie. Horror movie this, horror movie that. This has left me baffled. How can you have seen the film and taken it as a horror movie? To be sure, it is a supernatural drama with a few moments of thrill and fear, but a horror movie? No, I simply cannot refer to it as such. While I may play semantics with the critics on that issue, I agree wholeheartedly that Let the Right One In is a special film.
This Swedish gem is set during the blistering cold days of winter. A 12 year old boy, Oskar (Kare Hedebrant) is at the mercy of the school bullies. He shuffles quietly around school, talks softly, his innocence and fears diverting his desires for revenge. He lives in an apartment complex with his mother. One day new neighbors move in. A man puts up cardboard and plastic over the windows, and avoids conversation with other tenants.
One night as Oskar sits outside in the playground, a young girl appears, hardly dressed for winter and pale as the snow itself. They talk briefly, and she tells him that they cannot be friends. Yet she comes back again the next night, and again they talk. Oskar goes off to visit his father, who lives in a rural area. Together they enjoy themselves, and Oskar finally appears happy. When he returns he continues his encounters with the girl.
Her name is Eli (Lina Leandersson). She never appears except during the night time. And for good reason. Although the film only slowly explicitly reveals that she is a vampire, it's implicit from the early sequences. In one early scene, Eli's caretaker meticulously packs his gear, then goes to a nearby park where he meets, then chloroforms, then blood lets a passerby. He's interrupted by a dog and its owners before he can finish the job, and runs off. He finds blood for her, so she must not kill herself, at least as often. His failures continue though, and she must quench her thirst. When her caretaker is discovered, he burns himself with acid to hide his identity and keep her safe. He gives himself to her as his final act, now she is on her own.
Although these moments of violence are quite bloody, and at times graphic, they're simply a necessity of the real story, the relationship between Oskar and Eli. She eventually provides him with friendship, maybe even love, as they agree to "go steady." She implores him to stand up to the bullies, which he does, though it may lead him to more trouble in the end. He learns she is a vampire in time, as he must, but he accepts this and her, and finds it in himself to help her.
Let the Right One In is a very quiet and patient film. It rightly focuses on the progression of friendship between Oskar and Eli first and foremost. At its heart, this is a beautiful and tender contemplation. Despite its dark undertones, the film never feels sinister. It retains its sweetness right down to its graphic climax.
Oskar and Eli are wonderfully drawn characters. Both young actors are emphatically true to their characters, making them all the more sympathetic. The director Thomas Alfredson shoots them in muted tones, from their point of view, instead that of an adult. He makes sparse use of music, allowing the crunching of snow, the grumbling of stomachs, the ambient sounds of the world instead to frame the action on screen. It's a very well made film, from bottom to top.
Let the Right One In is a wonderfully unique picture. The movies were made to tell stories like these. I have not read the book the film is adapted from, but it certainly would expand on much of what is only hinted at here. But what is included in the film needs no expansion. This is such a wonderful film as it stands, in its boldness, its darkness, and its touching beauty.
The one thing I keep reading about Let the Right One In is how it's such a unique horror movie. Horror movie this, horror movie that. This has left me baffled. How can you have seen the film and taken it as a horror movie? To be sure, it is a supernatural drama with a few moments of thrill and fear, but a horror movie? No, I simply cannot refer to it as such. While I may play semantics with the critics on that issue, I agree wholeheartedly that Let the Right One In is a special film.
This Swedish gem is set during the blistering cold days of winter. A 12 year old boy, Oskar (Kare Hedebrant) is at the mercy of the school bullies. He shuffles quietly around school, talks softly, his innocence and fears diverting his desires for revenge. He lives in an apartment complex with his mother. One day new neighbors move in. A man puts up cardboard and plastic over the windows, and avoids conversation with other tenants.
One night as Oskar sits outside in the playground, a young girl appears, hardly dressed for winter and pale as the snow itself. They talk briefly, and she tells him that they cannot be friends. Yet she comes back again the next night, and again they talk. Oskar goes off to visit his father, who lives in a rural area. Together they enjoy themselves, and Oskar finally appears happy. When he returns he continues his encounters with the girl.
Her name is Eli (Lina Leandersson). She never appears except during the night time. And for good reason. Although the film only slowly explicitly reveals that she is a vampire, it's implicit from the early sequences. In one early scene, Eli's caretaker meticulously packs his gear, then goes to a nearby park where he meets, then chloroforms, then blood lets a passerby. He's interrupted by a dog and its owners before he can finish the job, and runs off. He finds blood for her, so she must not kill herself, at least as often. His failures continue though, and she must quench her thirst. When her caretaker is discovered, he burns himself with acid to hide his identity and keep her safe. He gives himself to her as his final act, now she is on her own.
Although these moments of violence are quite bloody, and at times graphic, they're simply a necessity of the real story, the relationship between Oskar and Eli. She eventually provides him with friendship, maybe even love, as they agree to "go steady." She implores him to stand up to the bullies, which he does, though it may lead him to more trouble in the end. He learns she is a vampire in time, as he must, but he accepts this and her, and finds it in himself to help her.
Let the Right One In is a very quiet and patient film. It rightly focuses on the progression of friendship between Oskar and Eli first and foremost. At its heart, this is a beautiful and tender contemplation. Despite its dark undertones, the film never feels sinister. It retains its sweetness right down to its graphic climax.
Oskar and Eli are wonderfully drawn characters. Both young actors are emphatically true to their characters, making them all the more sympathetic. The director Thomas Alfredson shoots them in muted tones, from their point of view, instead that of an adult. He makes sparse use of music, allowing the crunching of snow, the grumbling of stomachs, the ambient sounds of the world instead to frame the action on screen. It's a very well made film, from bottom to top.
Let the Right One In is a wonderfully unique picture. The movies were made to tell stories like these. I have not read the book the film is adapted from, but it certainly would expand on much of what is only hinted at here. But what is included in the film needs no expansion. This is such a wonderful film as it stands, in its boldness, its darkness, and its touching beauty.
Not Just A Vampire Movie
dante_leebo25 August 2008
Warning: Spoilers
This film was the main reason for my attending Frightfest in London this year and I was not disappointed. From the opening shot you realise that you are in for something special. The film is set in (a very cold) Sweden in the early 1980s and the writer of the novel/screenplay has confessed that it is semi-autobiographical and based loosely on his own childhood. I'm guessing that the inclusion of a vampire in the story is what takes this away from being simply autobiographical.
Although people are describing this as a vampire movie, I cannot help but feel that this does the film something of a disservice. Does this mean that people who do not particularly like vampire movies would not necessarily go to the cinema and watch this? That would be a shame because this is a very human story. The vampire element does take a back seat to the main focus of the story which is the fascinating relationship between Oscar and Eli. These are two outcasts brought together by their miserable lives.
The film is Swedish with subtitles but again don't let that put you off. The two performances by the child actors are fantastic and director Alfredson is apparently better known for comedy in Sweden and his humour is evident throughout the film. Without a doubt the best film at Frightfest 2008, there is a remake planned for 2010 but the film is near perfect just as it is so why wait? Go and see it.
Although people are describing this as a vampire movie, I cannot help but feel that this does the film something of a disservice. Does this mean that people who do not particularly like vampire movies would not necessarily go to the cinema and watch this? That would be a shame because this is a very human story. The vampire element does take a back seat to the main focus of the story which is the fascinating relationship between Oscar and Eli. These are two outcasts brought together by their miserable lives.
The film is Swedish with subtitles but again don't let that put you off. The two performances by the child actors are fantastic and director Alfredson is apparently better known for comedy in Sweden and his humour is evident throughout the film. Without a doubt the best film at Frightfest 2008, there is a remake planned for 2010 but the film is near perfect just as it is so why wait? Go and see it.
I love the book, i love the movie
Skruttan29 October 2008
I had just finished reading the book when i went to see this movie. I had big expectations, which i didn't want to have because than you can get disappointed, but oh my god was i happy when it was even better than i expected. Every second of the movie is just brilliant film-making, thanks to Tomas Alfredson who has proved that he is a master. Also the acting is great and believable, and the cinematography and music is beautiful. There was some things that i missed from the book that wasn't in the movie, but i expected that. This movie is a masterpiece and every single human being should see it. Well perhaps not every singe one since this is a horror movie, don't see it with your young ones.
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