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
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.
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+
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 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 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.
... in many parts a beautiful and original piece of cinema.
jacobsteel4 February 2008
I read the book and loved it. Now, I had the chance to see the movie version at the Gothenburg International Filmfestival 2008, as the movie won the "Nordiska filmpriset". I saw it at a really big screen (700 seats), happy that it delivered fine acting and quality cinema.
Having said that, I'd also agree with what's been said (e.g. above) that the music is a bit over the top. The movie itself is a study in the small: tiny nuances in the classroom and schoolyard, the almost forgotten suburb, the hiding qualities of snow, ice and winter (not to mention the, at least partly, neglected kids). To score such small details with grand strings makes for a bit of a mismatch. Enough on that, some parts have only piano and those work perfectly.
Witout spoiling anything it's safe to say that this first and foremost is a story of friendship. Second, it's a story of revenge. Either way, this is a truly original tale and in many parts a beautiful piece of cinema. Original (and sometimes quite gory) still even the violence seems subdued (at least in comparison to the vampire genre as it has evolved from subtle romance flick to full blown war movie). This movie, however, is about loneliness, friendship and loyalty --- and it's really worth watching. Recommended.
Having said that, I'd also agree with what's been said (e.g. above) that the music is a bit over the top. The movie itself is a study in the small: tiny nuances in the classroom and schoolyard, the almost forgotten suburb, the hiding qualities of snow, ice and winter (not to mention the, at least partly, neglected kids). To score such small details with grand strings makes for a bit of a mismatch. Enough on that, some parts have only piano and those work perfectly.
Witout spoiling anything it's safe to say that this first and foremost is a story of friendship. Second, it's a story of revenge. Either way, this is a truly original tale and in many parts a beautiful piece of cinema. Original (and sometimes quite gory) still even the violence seems subdued (at least in comparison to the vampire genre as it has evolved from subtle romance flick to full blown war movie). This movie, however, is about loneliness, friendship and loyalty --- and it's really worth watching. Recommended.
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.
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.
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
Vamp Drama
jeroduptown2 November 2021
Doesn't work for me
benjones-1115 January 2011
Warning: Spoilers
The film is close to two hours long. During that time I watched the clock and wondered if anything was going to happen.
Nothing did.
O.k. Maybe that's being harsh. The film is, without doubt, exploring a fascinating avenue: mingling the evil of the occult and death with the innocence of childhood. The occult factor takes the form of Eli - a vampire who lives her life as a twelve year old girl and who is forced to fend for herself in the rather glum suburbs of wintertime Stockholm. She befriends a young child who is bullied at school and leads a rather lonely existence. The film centres on the friendship and the struggles of adolescence, love and being a vampire.
The problem is that the movie attempts to be art-house. It indulges in long, lingering shots with very little occurring. These shots vary between close ups of the characters as they stare at various things, to wide angled shots of snow covered streets. I would like to say that the scenery is beautiful. I would like to ... but I can't. It mostly consists of red-brick cheap housing, sitting in piles of brown, slushy snow. I would like to say that the shots of the children are moving, but unfortunately they dwell for what seem like hours on a child looking gormlessly out of a window, or twitching and squirming in order to show that he is "acting" the emotion: "self reflection".
What's more, the film is unrealistic to the point that bits become irritating. I'm not talking about the vampire element. I'm talking about the people who are supposed to be "normal". A man watches a child savage his wife and drink her blood. But (for no explicable reason) he takes her home, puts a bandage on her neck and then goes round to see a friend while he leaves her to wake up in bed. No police, no doctors. No reason. A child watches his friend lick his blood off the floor like a cat, while her face morphs into that of an old lady, and yet the next time they meet, he casually asks "Are you a vampire?" with the same slow, dull countenance he uses for every other scene in the film. I could go on.
And furthermore - there are questions which go unanswered. What was the relationship between Eli and her carer? If she is capable of love then why does she do to him what she does, without even batting an eyelid? And what is going on with her groin!!!? So, to summarise, watch this if you want to see a very good concept for a story, ruined by annoying characters, daft behaviour and lots and lots and lots of grimy snow.
Nothing did.
O.k. Maybe that's being harsh. The film is, without doubt, exploring a fascinating avenue: mingling the evil of the occult and death with the innocence of childhood. The occult factor takes the form of Eli - a vampire who lives her life as a twelve year old girl and who is forced to fend for herself in the rather glum suburbs of wintertime Stockholm. She befriends a young child who is bullied at school and leads a rather lonely existence. The film centres on the friendship and the struggles of adolescence, love and being a vampire.
The problem is that the movie attempts to be art-house. It indulges in long, lingering shots with very little occurring. These shots vary between close ups of the characters as they stare at various things, to wide angled shots of snow covered streets. I would like to say that the scenery is beautiful. I would like to ... but I can't. It mostly consists of red-brick cheap housing, sitting in piles of brown, slushy snow. I would like to say that the shots of the children are moving, but unfortunately they dwell for what seem like hours on a child looking gormlessly out of a window, or twitching and squirming in order to show that he is "acting" the emotion: "self reflection".
What's more, the film is unrealistic to the point that bits become irritating. I'm not talking about the vampire element. I'm talking about the people who are supposed to be "normal". A man watches a child savage his wife and drink her blood. But (for no explicable reason) he takes her home, puts a bandage on her neck and then goes round to see a friend while he leaves her to wake up in bed. No police, no doctors. No reason. A child watches his friend lick his blood off the floor like a cat, while her face morphs into that of an old lady, and yet the next time they meet, he casually asks "Are you a vampire?" with the same slow, dull countenance he uses for every other scene in the film. I could go on.
And furthermore - there are questions which go unanswered. What was the relationship between Eli and her carer? If she is capable of love then why does she do to him what she does, without even batting an eyelid? And what is going on with her groin!!!? So, to summarise, watch this if you want to see a very good concept for a story, ruined by annoying characters, daft behaviour and lots and lots and lots of grimy snow.
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!!
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.
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.
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...
This is a phenomenal film.
Meena-Naidu21 June 2020
One of the best movies of this decade that best catches the sense of the 80s and not the neon side of it, but that bleak, almost neo-noir feel of old Polaroids. Visually, it is gorgeous. One of the most beautiful horror movies out there. It's brilliance comes from an imaginative, gruesome storyline combined with pre-teen awkwardness you'll grow to root for throughout the movie.
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.
Squeal
EdwardtheBlackPrince16 October 2022
Let the right one in is a Swedish horror/romance about a boy named Oskar who's bullied at school and neglected by his parents. When a young girl named Eli moves into the apartment complex. Overtime they begin to develop a close relationship and in many ways like each other. The only thing is Eli has a secret that she is a Vampire and has thirst for Blood. I will by all means that this is a pretty unique Vampire, to say the least for a variety of reasons primarily for starters that the main focus is focused on children and so it's more of a coming-of-age romance than an absolute blood slaughter. There is a fair amount of that, but the highlight of these films comes from the children. The prefaces that they give you do get this very strong sense that there's a spark there or something. Never does the film have you completely set in motion how this film will end or how the two will respond. The scenes between both of them are heartwarming, and you know Oscar like her however the real question is how Eli feels about the Situation does she generally like Oskar, or is she possibly grooming him for her benefit it leaves you pondering that case. The horror aspect of the film when the victim begins to die is also done very well as is the cinematography with very far shots it always adds this 1st person's perspective as if you're the one watching from the distance taken in the scene.
Beautiful love story, great horror movie, sweet children's tale
sidsmeets20 February 2008
This movie is good.
The story is simple enough. A lonely boy, Oskar, befriends the girl next door, Eli, and with her help overcomes the school bullies.
But then there is so much more going on. There is a serial killer, who seems to pick on very cute adolescent boys and has a strange jealousy towards the Oskar. And there is a vampire who can only survive on blood. And there are some sexual undertones.
But all of it just helps a great story get told. The horror is well done and appropriate. The actors are all just right for their parts. The horror is always lurking round the corner and there to let you know that the world is a hard place even if the story we see is kind of funny or fantastical.
There are some mysteries everyone can figure out for themselves and the answers just add layers to this story that make it even better. Just remember what Eli says about what she is and take it to its logical conclusion.
A must see! On a side note, it is great to see the Vampire "rules" all upheld, of course the title itself refers to the rule that a vampire can only enter a home when he is invited in.
The story is simple enough. A lonely boy, Oskar, befriends the girl next door, Eli, and with her help overcomes the school bullies.
But then there is so much more going on. There is a serial killer, who seems to pick on very cute adolescent boys and has a strange jealousy towards the Oskar. And there is a vampire who can only survive on blood. And there are some sexual undertones.
But all of it just helps a great story get told. The horror is well done and appropriate. The actors are all just right for their parts. The horror is always lurking round the corner and there to let you know that the world is a hard place even if the story we see is kind of funny or fantastical.
There are some mysteries everyone can figure out for themselves and the answers just add layers to this story that make it even better. Just remember what Eli says about what she is and take it to its logical conclusion.
A must see! On a side note, it is great to see the Vampire "rules" all upheld, of course the title itself refers to the rule that a vampire can only enter a home when he is invited in.
A movie loved by critics - but a bit tedious for me
poc-116 April 2009
Warning: Spoilers
I realise by writing a mostly-negative review that it will be voted down. Despite this I have always found that the negative reviews are the most honest and informative. If I want to know about a movie on IMDb I always read the negative reviews.
This is exactly the kind of movie that critics love - genre busting, anti-Hollywood, foreign language, low budget. It is all of these things and in truth it is a pretty good effort. But it is a very long way from being the greatest horror movie this century, as the Irish Times movie critic Donald Clarke calls it when he fatuously compares it to The Shining and The Exorcist.
Traditionally a vampire has been a villain, lives the glamorous lifestyle of an immortal in a castle. In this movie, the vampire is a child, lives in a crappy flat and has no friends. Set in 1970s Sweden in winter, it is about as bleak as it gets. Oskar, a friendless, bullied child who lives next door meets the vampire and the two of them find that they are kindred spirits.
There are two things which recommend this movie, the new take on the vampire genre and the acting of the child vampire. Detracting from it is the movies slow pace. Even the opening credits (plain white text on black) took an age. I hate that, unless you have really fancy credits that are worth watching, just get on with it. Visuals are pretty good though the incessant darkness and cold tends to get dreary after two hours. The child vampire is really excellent and she expresses the right kind of other-worldliness. The main child-protagonist (Oskar) however is very awkward and frankly annoying. He seems to be put in mainly because of his goofy "children of the corn" looks, and the camera takes full advantage of this taking rather too many opportunities to show him semi-naked.
The other main flaws are a very silly scene involving CGI cats and the climax, which is too contrived and too "Deus ex machina" and utterly predictable. The horror/gore aspect does not succeed and the director's efforts at shocking moments are good but for me they do not really shock. The movie is most memorable for its mood in the tender scenes between the two children.
This is exactly the kind of movie that critics love - genre busting, anti-Hollywood, foreign language, low budget. It is all of these things and in truth it is a pretty good effort. But it is a very long way from being the greatest horror movie this century, as the Irish Times movie critic Donald Clarke calls it when he fatuously compares it to The Shining and The Exorcist.
Traditionally a vampire has been a villain, lives the glamorous lifestyle of an immortal in a castle. In this movie, the vampire is a child, lives in a crappy flat and has no friends. Set in 1970s Sweden in winter, it is about as bleak as it gets. Oskar, a friendless, bullied child who lives next door meets the vampire and the two of them find that they are kindred spirits.
There are two things which recommend this movie, the new take on the vampire genre and the acting of the child vampire. Detracting from it is the movies slow pace. Even the opening credits (plain white text on black) took an age. I hate that, unless you have really fancy credits that are worth watching, just get on with it. Visuals are pretty good though the incessant darkness and cold tends to get dreary after two hours. The child vampire is really excellent and she expresses the right kind of other-worldliness. The main child-protagonist (Oskar) however is very awkward and frankly annoying. He seems to be put in mainly because of his goofy "children of the corn" looks, and the camera takes full advantage of this taking rather too many opportunities to show him semi-naked.
The other main flaws are a very silly scene involving CGI cats and the climax, which is too contrived and too "Deus ex machina" and utterly predictable. The horror/gore aspect does not succeed and the director's efforts at shocking moments are good but for me they do not really shock. The movie is most memorable for its mood in the tender scenes between the two children.
Warning - pretentious film lover alert.
VoodooVince22 March 2010
Warning: Spoilers
Film critics (and aspiring amateur pretenders) never cease to amaze me. They love nothing more than laying into "dumb" Hollywood productions for a lack of plausibility yet consistently let foreign productions off the hook for the very same mistakes. Many called this quiet little Swedish film a masterpiece. You have got to be kidding me? Let me see now, if this was a Michael Bay production do you think they'd overlook these corkers? Read on.....
Eli has a guardian figure who murders innocents and collects their blood. You get the impression Eli and him have been around for quite some time. This moron decides to abduct and murder a young man yards from a main road. His attempts to extract blood consist of a funnel and a makeshift bucket. It's so idiotic it's embarrassing. Naturally he's spotted and has to bolt. We then see him sitting on a train holding his waterproofs which are splattered with blood. In full view of everyone. Unbelievable. This clown wouldn't last a week in this line of work.
It gets worse. This same philistine decides to try again. This time in a SCHOOL. Yup, you read that right. He hangs a lad upside down in the changing room, primed for throat slitting, bucket at the ready. He doesn't even gag the boy. What happens? The boy has friends waiting for him outside and he starts SHOUTING for help. Mr Murderer really is as dumb as they come right? This time he's cornered. Solution? Pours acid on his face so the police won't recognise him and garner a lead to Eli! Hahaha. Masterpiece right?!!
Not only that, if you're going to murder people for blood why not just let Eli feed there and then? Why wander around with waterproofs, funnels and buckets when she can just come along??! It's so dumb it hurts.
There's more. There are dead bodies dropping left and centre. We even have a man witness Eli maul his friend. Yet there is no discernible police investigation, no one reports anything to anyone. The stupidity of every character is mind boggling.
A local woman is attacked and infected by Eli. She survives but is now a vampire. She and her husband both know full well who attacked her. The young, creepy looking girl who stays just over there! Yet they tell no one. She's never interviewed and her husband doesn't crack a light to anyone. He has his own little revenge mission which also ends in complete and utter farce. No surprise there.
Oskar's relationship with his dad is never fleshed out and has absolutely no bearing on the film at all. Why was it even in there? Another mystery not explained.
We see Oskar at the end heading to pastures new with Eli in a box. Haha, another belter. I'm sure his mum was happy to just let her 12 year old boy leave home, no questions asked. Perhaps he's fled of his own accord? On a PUBLIC train! One call to the authorities and he'd be picked up at the very next station. It's so stupid it's borderline offensive.
I could go on, really I could. Here we have a film where the characters commit the same cardinal sins which normally have critics rolling their eyes in disdain. Yet they turned a blind eye this time. Don't be fooled. This is not a masterpiece in a million years.
Eli has a guardian figure who murders innocents and collects their blood. You get the impression Eli and him have been around for quite some time. This moron decides to abduct and murder a young man yards from a main road. His attempts to extract blood consist of a funnel and a makeshift bucket. It's so idiotic it's embarrassing. Naturally he's spotted and has to bolt. We then see him sitting on a train holding his waterproofs which are splattered with blood. In full view of everyone. Unbelievable. This clown wouldn't last a week in this line of work.
It gets worse. This same philistine decides to try again. This time in a SCHOOL. Yup, you read that right. He hangs a lad upside down in the changing room, primed for throat slitting, bucket at the ready. He doesn't even gag the boy. What happens? The boy has friends waiting for him outside and he starts SHOUTING for help. Mr Murderer really is as dumb as they come right? This time he's cornered. Solution? Pours acid on his face so the police won't recognise him and garner a lead to Eli! Hahaha. Masterpiece right?!!
Not only that, if you're going to murder people for blood why not just let Eli feed there and then? Why wander around with waterproofs, funnels and buckets when she can just come along??! It's so dumb it hurts.
There's more. There are dead bodies dropping left and centre. We even have a man witness Eli maul his friend. Yet there is no discernible police investigation, no one reports anything to anyone. The stupidity of every character is mind boggling.
A local woman is attacked and infected by Eli. She survives but is now a vampire. She and her husband both know full well who attacked her. The young, creepy looking girl who stays just over there! Yet they tell no one. She's never interviewed and her husband doesn't crack a light to anyone. He has his own little revenge mission which also ends in complete and utter farce. No surprise there.
Oskar's relationship with his dad is never fleshed out and has absolutely no bearing on the film at all. Why was it even in there? Another mystery not explained.
We see Oskar at the end heading to pastures new with Eli in a box. Haha, another belter. I'm sure his mum was happy to just let her 12 year old boy leave home, no questions asked. Perhaps he's fled of his own accord? On a PUBLIC train! One call to the authorities and he'd be picked up at the very next station. It's so stupid it's borderline offensive.
I could go on, really I could. Here we have a film where the characters commit the same cardinal sins which normally have critics rolling their eyes in disdain. Yet they turned a blind eye this time. Don't be fooled. This is not a masterpiece in a million years.
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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