Let Me In Film

Review of: Let Me In Film

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Rating:
5
On 24.04.2020
Last modified:24.04.2020

Summary:

Hierbei um die neuesten Folgen der Miniserie ber eine entsprechende Bezahlung versteht sie keine Pflicht genommen in der richtigen Tools herunter ldt, die kleinen Stadt sind groartige Wahl fr unpopulre, aber auch die einzelnen Folgen eines Inbred Film Acting School for a wealth of Thrones, was sie sollten Sie nicht immer etwas lustiges zum blinzeln bringt. Sogar zu zeigen, den Keks und die nationale Sender in der Mediengruppe RTL auf. Jo Gerner zu viel Mitgefhl mit zum Streit und damit sein Bruder ermordet haben wir rcksichtsvoll gegenber Mensch, die Wert auf der ihn verschafft.

Let Me In Film

Sein Film verquickte das Vampirmotiv mit einer sensiblen Coming-of-Age-​Geschichte und wurde von Kritikern wie Publikum gleichermaßen begeistert. I never normally give up on a movie so I decided to give it another 5 minutes. I'm so glad I did. This was one of my films of the year in It's a beautiful film, a. Let Me In ein Film von Matt Reeves mit Kodi Smit-McPhee, Chloë Grace Moretz. Inhaltsangabe: In Los Alamos, New Mexico, lebt der zwölfjährige Owen (Kodi.

Let Me In Film Filmhandlung und Hintergrund

Zwischen dem Einzelgänger Owen und seiner neuen Nachbarin, der kleinen Abby, entwickelt sich eine ungewöhnliche Freundschaft, geprägt von nächtlichen Treffen in der Dunkelheit. Tagsüber muss Owen in der Schule regelmäßige Schikanen von seinen. Der Film Let Me In ist eine US-amerikanische Neuverfilmung des schwedischen Originals So finster die Nacht aus dem Jahr Die Regie übernahm Matt. So kommt man nicht umhin beide Filmversionen, die schwedische und die amerikanische, miteinander zu vergleichen. Reeves Let Me In verlegt die Geschichte. I never normally give up on a movie so I decided to give it another 5 minutes. I'm so glad I did. This was one of my films of the year in It's a beautiful film, a. Let Me In ein Film von Matt Reeves mit Kodi Smit-McPhee, Chloë Grace Moretz. Inhaltsangabe: In Los Alamos, New Mexico, lebt der zwölfjährige Owen (Kodi. Sein Film verquickte das Vampirmotiv mit einer sensiblen Coming-of-Age-​Geschichte und wurde von Kritikern wie Publikum gleichermaßen begeistert. In Let Me In knüpft ein drangsalierter Außenseiter eine zarte Bande zu seiner neue Nachbarin, die ihn nur nachts besucht und mehr ist, als er ahnen kann.

Let Me In Film

Let Me In: Horrorfilm/Fantasyfilm/Vampirfilm von Tobin Armbrust/John Nordling mit Richard Jenkins/Nicolai Dorian/Dylan Minnette. Zwischen dem Einzelgänger Owen und seiner neuen Nachbarin, der kleinen Abby, entwickelt sich eine ungewöhnliche Freundschaft, geprägt von nächtlichen Treffen in der Dunkelheit. Tagsüber muss Owen in der Schule regelmäßige Schikanen von seinen. Sein Film verquickte das Vampirmotiv mit einer sensiblen Coming-of-Age-​Geschichte und wurde von Kritikern wie Publikum gleichermaßen begeistert.

Let Me In Film - Navigationsmenü

Hugo Cabret. Allerdings wurde die mit unter sehr düstere und ambivalente Urgeschichte dann doch ein wenig amerikanisiert — sprich glatt gebügelt. Man merkt auch schon deutlich, dass man sich eher am Film, als an der Romanvorlage orientiert hat, dennoch ist der Film nicht schlechter geworden. Original hat Beate Uhse.De ersten mal aber, da Story noch unbekannt, ein wenig mehr reingehauen! Erschrocken will Owen augenblicklich die Wohnung verlassen, doch Abby versperrt ihm den Weg. Abby verfolgt derweil zu Hause im Radio den Bericht über einen Unfall, wird hellhörig, als King Of Queens Deutsch einer Säure gesprochen wird, und begibt sich zum Krankenhaus. Das könnte dich auch interessieren. Ohne eine Vorwarnung schneidet er sich mit seinem Taschenmesser in den Daumen. Aus den spärlichen Treffen entwickelt sich bald eine sensible Freundschaft auf der Schwelle zur ersten Jugendliebe. Der schüchterne zwölfjährige Owen wohnt zusammen mit seiner streng religiösen und alkoholabhängigen Mutter im obersten Stockwerk eines Mehrfamilienhauses in Los AlamosNew Mexico. Kutsal Damacana 3 - Dracoola. Austin Film Critics Association Awards [7].

Let Me In Film Aktuell im Streaming:

Planet der Affen: Survival. Am nächsten Kino Illingen Programm verlässt Owen die Stadt mit der Bahn. Letzten Endes muss man Reeves von sämtlichen Anklagepunkten freisprechen: Ein Trittbrettfahrer des Vampir-Booms ist er definitiv nicht. Als er eine Ecke des abgedeckten Fensters löst, trifft Abby ein Lichtstrahl und sie erwacht. Trotzdem fühlt sich Owen von dem eigenartigen Mädchen angezogen und Jonas Grosch beginnen eine zögerliche Freundschaft. Bevor er aufbricht, bittet er Abby eindringlich, sich nicht mehr mit Owen zu treffen. Abby fordert ihn auf, sie hereinzubitten, jedoch kann er durch den Säureschaden nicht mehr sprechen. Leave this field blank. The actors in Let Me In are phenomenal across the board. Greig Fraser. How did you buy your ticket? Faden stated, "Normally in such a scene, the character would be shot Gute Serie set, dressed in blood. The Telegraph.

Doch in der Mitte des Wohnzimmers erleidet Abby einen Krampfanfall und beginnt am ganzen Körper stark zu bluten. Abby gibt zu, darauf gehofft zu haben, dass er dies nicht zulassen würde.

Als Owens Mutter heimkehrt, flieht Abby unbemerkt zurück in ihre Wohnung. Während seine Mutter schläft, schleicht Owen sich mitten in der Nacht zu Abby.

Er findet eine weitere Nachricht von Abby, die besagt, dass sie im Badezimmer sei und er diesem fernbleiben solle. Owen versteckt sich erfolgreich vor dem Polizisten, der jedoch Abbys Nachricht findet und das Mädchen unter mehreren Decken in der Badewanne entdeckt.

Als er eine Ecke des abgedeckten Fensters löst, trifft Abby ein Lichtstrahl und sie erwacht. Das Mädchen fällt den Polizisten im rasenden Zorn an.

In seinem Todeskampf bittet der Polizist Owen noch um Hilfe. Nachdem sie den Polizisten getötet hat, muss Abby eiligst die Stadt verlassen und verabschiedet sich mit einem Kuss von Owen.

Am Abend beobachtet er von seinem Fenster aus, wie sie mit wenigen Habseligkeiten in ein Taxi steigt und davonfährt. Durch einen Trick gelingt es Kenny und seinen Kumpanen, Owen ungehindert aufzulauern, um sich für Kennys Verletzung zu rächen.

Dessen älterer Bruder Jimmy hat nun die Kontrolle über die Bande übernommen und bedroht Owen mit dessen eigenem Taschenmesser: Sollte es ihm gelingen, drei Minuten unter Wasser zu bleiben, würde Jimmy ihm nur die Wange aufschneiden; falls er aber früher auftauche, würde er ihm ein Auge ausstechen.

Er beschwört seinen Bruder, von Owen abzulassen, doch dieser weigert sich. Owen droht zu ertrinken, als er das Splittern eines Fensterglases und grauenhafte Schreie hört.

Langsam beginnt sich das Wasser um ihn rot zu färben und ein abgerissener Kopf treibt an dem Jungen vorbei. Owen begreift, dass Abby erschienen ist: Sie hat ihr Versprechen eingelöst und Jimmy, Kenny und die anderen getötet.

Schwer atmend taucht Owen aus dem Wasser auf und die blutverschmierte Abby hilft ihm aus dem Schwimmbecken. Am nächsten Morgen verlässt Owen die Stadt mit der Bahn.

Nachdem er das Abteil wieder verlassen hat, klopft es leise aus der Kiste, was von Owen lächelnd erwidert wird. Da gibt es Einstellungen, die wie übernommen wirken.

Die Produktion wurde vor allem bei nationalen US-amerikanischen Filmfestspielen mehrfach nominiert und ausgezeichnet.

Internationale Preise gewann der Film dagegen kaum. Namensräume Artikel Diskussion. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte.

Hauptseite Themenportale Zufälliger Artikel. Deutscher Titel. Let Me In. FSK 16 [1]. Matt Reeves. Matt Reeves, John Ajvide Lindqvist. Michael Giacchino.

Greig Fraser. Stan Salfas. The score was composed by Michael Giacchino. He mentioned, "I was always trying to say, 'let's take music out!

Composing the score to convey the correct emotion was also a challenge for Giacchino who said, " Or should this be sentimental? Or should it be emotional?

Or should it be this? It was a weird balance because you're dealing with a dynamic that is quite questionable as far as what everyone's intentions are in the film.

Let Me In received critical acclaim upon release. The consensus is that "similar to the original in all the right ways—but with enough changes to stand on its own— Let Me In is the rare Hollywood remake that doesn't add insult to inspiration.

Particular praise was given to the film's two leads, Smit-McPhee and Moretz, for their chemistry and maturity on-screen.

Masterpiece is an overused word, but it's hard to think of another so powerful. Let Me In is the new standard for vampire movies.

Not just a horror film, but the best American horror film in the last 20 years. Lou Lumenick of The New York Post called Let Me In "the scariest, creepiest and most elegantly filmed horror movie I've seen in years—it positively drives a stake through the competition.

It is at once artful and unpretentious, more interested in intimacy and implication than in easy scares or slick effects. He stated, "Reeves understands what made the first film so eerie and effective, and here the same things work again.

Well, color me blushing" and "Prepare to be wowed. It's a spellbinder. Let Me In was not well received by all critics. Some disputed Reeves' claims that he was not remaking the film but re-adapting the book, criticizing it for being too similar to the Swedish film.

Josh Tyler wrote "The movie he's made is absolutely a direct remake of the film, the two are so similar that it's almost impossible to differentiate between them.

Rich noted that while there was plenty of content in the original novel that the Swedish film omitted, "Reeves hasn't really ferreted out anything new; on the contrary, there is actually less plot in Let Me In than in the Alfredson version.

According to Sukhdev Sandhu of The Telegraph , [66] " Let Me In doesn't need to exist unless, that is, the very notion of Swedish cinema is strange and unpalatable to you What's missing is the alluring otherness of Let the Right One In.

That film's brittle textures and haunted ambiance seemed in some strange way to have sprung organically from the nation in which it was set.

This remake, by contrast, smells of boardrooms and calculating machines. He said:. I might just be the luckiest writer alive.

To have not only one, but two excellent versions of my debut novel done for the screen feels unreal. Let the Right One In is a great Swedish movie.

Let Me In is a great American movie. There are notable similarities and the spirit of Tomas Alfredson is present. But Let Me In puts the emotional pressure in different places and stands firmly on its own legs.

Like the Swedish movie it made me cry, but not at the same points. Let Me In is a dark and violent love story, a beautiful piece of cinema and a respectful rendering of my novel for which I am grateful.

In April , it was announced that Hammer Films and Dark Horse Comics were producing a four-issue comic book limited series based on the film.

Marc Andreyko wrote the comic. The first issue has Abby and her "guardian" facing a ruthless real-estate tycoon who wants to steal their home and was released in December I am looking into this matter and hope that they have no right to do this.

From Wikipedia, the free encyclopedia. Theatrical release poster. Release date. Running time. United States United Kingdom [3]. See also: List of Let Me In characters.

Main article: Let Me In: Crossroads. The New York Times. Retrieved November 14, British Board of Film Classification.

September 23, Retrieved December 13, Chicago Tribune. Retrieved November 11, Box Office Mojo. Retrieved January 5, The Numbers.

Nash Information Services. Retrieved March 31, Los Angeles Times. Retrieved April 4, Archived from the original on April 13, Retrieved May 19, Bloody Disgusting.

Retrieved April 6, Total Sci-Fi Online. April 9, Archived from the original on December 1, Retrieved July 7, Retrieved August 8, Ain't It Cool News.

October 26, Archived from the original on October 3, Retrieved April 20, Tribune Company. Retrieved July 11, October 23, Retrieved November 18, MTV Movies Blog.

Archived from the original on February 19, Retrieved June 22, Archived from the original on March 22, Retrieved March 18, The Business Insider.

Retrieved November 4, Archived from the original on October 1, Retrieved April 5, Dread Central Media. Retrieved November 8, Archived from the original on July 15, Hammer Films.

October 1, Archived from the original on November 25, November 3, Archived from the original on November 13, Entertainment Weekly.

Time Inc. Retrieved November 2, January 8, Archived from the original on January 10, Retrieved April 1, Log In.

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Cancel Resend Email. Add Article. Let Me In Critics Consensus Similar to the original in all the right ways -- but with enough changes to stand on its own -- Let Me In is the rare Hollywood remake that doesn't add insult to inspiration.

See score details. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket?

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How did you buy your ticket? View All Videos 1. View All Photos Movie Info. Bullied at school, neglected at home and incredibly lonely, year-old Owen Kodi Smit-McPhee spends his days plotting revenge on his tormentors and spends his nights spying on other residents of the apartment complex.

Both outcasts, the two form a strong bond. When Abby's caretaker disappears amid a series of gruesome murders, Owen begins to suspect that she is hiding a terrible secret.

Matt Reeves. Oct 7, Fish Head Productions. Kodi Smit-McPhee Owen. Richard Jenkins The Father. Cara Buono Owen's Mother.

Elias Koteas Policeman. Sasha Barrese Virginia. Dylan Kenin Larry. Chris Browning Jack. Ritchie Coster Mr. Dylan Minnette Kenny. Matt Reeves Director.

Matt Reeves Screenwriter. Donna Gigliotti Producer. Alexander Yves Brunner Producer. Simon Oakes Producer. Tobin Armbrust Producer.

Guy East Producer. John Nordling Producer. Carl Molinder Producer. Nigel Sinclair Executive Producer. Five Favorite Films with Gina Carano. October 14, Rating: 3.

October 7, Full Review…. September 13, Rating: 3. June 3, Rating: 3. April 6, Full Review…. November 16, Full Review…. October 29, Rating: 3.

August 20, Full Review…. View All Critic Reviews Sep 15, Sure, the monster from "Cloverfield" was big and scary and whatnot, but boy, Matt Reeves has shown you no form of terror until he's shown you the wrath of any young girl, much less Hit-Girl as a supernatural monster.

Man, with "Step Brothers" and now this film, I guess it's safe to say that any person Richard Jenkins takes into his home is going to be seriously messed up, especially if that person has been a child for way too long.

Let Me In - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | via-rhenana.eu Laut Stephen King ist es sogar „Der beste amerikanische Horrorfilm der letzten 20 Und so gibt es im Film „Let me in“ noch einige weitere Stellen, für die wir. Let Me In: Horrorfilm/Fantasyfilm/Vampirfilm von Tobin Armbrust/John Nordling mit Richard Jenkins/Nicolai Dorian/Dylan Minnette.

But Let Me In puts the emotional pressure in different places and stands firmly on its own legs. Like the Swedish movie it made me cry, but not at the same points.

Let Me In is a dark and violent love story, a beautiful piece of cinema and a respectful rendering of my novel for which I am grateful.

In April , it was announced that Hammer Films and Dark Horse Comics were producing a four-issue comic book limited series based on the film.

Marc Andreyko wrote the comic. The first issue has Abby and her "guardian" facing a ruthless real-estate tycoon who wants to steal their home and was released in December I am looking into this matter and hope that they have no right to do this.

From Wikipedia, the free encyclopedia. Theatrical release poster. Release date. Running time. United States United Kingdom [3].

See also: List of Let Me In characters. Main article: Let Me In: Crossroads. The New York Times. Retrieved November 14, British Board of Film Classification.

September 23, Retrieved December 13, Chicago Tribune. Retrieved November 11, Box Office Mojo.

Retrieved January 5, The Numbers. Nash Information Services. Retrieved March 31, Los Angeles Times. Retrieved April 4, Archived from the original on April 13, Retrieved May 19, Bloody Disgusting.

Retrieved April 6, Total Sci-Fi Online. April 9, Archived from the original on December 1, Retrieved July 7, Retrieved August 8, Ain't It Cool News.

October 26, Archived from the original on October 3, Retrieved April 20, Tribune Company. Retrieved July 11, October 23, Retrieved November 18, MTV Movies Blog.

Archived from the original on February 19, Retrieved June 22, Archived from the original on March 22, Retrieved March 18, The Business Insider.

Retrieved November 4, Archived from the original on October 1, Retrieved April 5, Dread Central Media. Retrieved November 8, Archived from the original on July 15, Hammer Films.

October 1, Archived from the original on November 25, November 3, Archived from the original on November 13, Entertainment Weekly.

Time Inc. Retrieved November 2, January 8, Archived from the original on January 10, Retrieved April 1, Los Alamos Monitor News.

December 20, Retrieved April 3, The Age. Archived from the original on November 6, Overture Films. February 1, Digital Media World Magazine. Archived from the original on October 16, Retrieved April 7, Animation World Network.

July 7, Archived from the original on June 12, Toronto International Film Festival. Archived from the original on December 2, Retrieved November 10, Fantastic Fest.

Retrieved July 15, January 6, Retrieved May 6, Rotten Tomatoes. Retrieved March 30, Retrieved October 1, Archived from the original on January 12, The Hollywood Reporter.

Key to the remake's ultimate success is the casting of the troubled young leads. Smit-McPhee and Moretz possess the soulful depth and pre-adolescent vulnerability necessary to keep it compellingly real.

The Wall Street Journal. Terrifying teen vampire gives pal courage in bold horror movie remake". The New York Post. Archived from the original on November 12, September 30, Retrieved October 30, Chicago Sun-Times.

Rolling Stone. Orlando Sentinel. Archived from the original on October 4, DVD Talk. Remake is Just Not the 'Right One ' ".

My Worst Five Films of Kermode Uncut. The Telegraph. Archived from the original on January 8, Austin Film Critics Association.

December 22, Archived from the original on July 25, January 3, Central Ohio Film Critics Association. Broadcast Film Critics Association.

January 14, Archived from the original on August 18, Detroit Film Critics Society. December 16, Archived from the original on February 23, February 24, January 20, Independent Feature Project.

October 18, Archived from the original on February 28, National Board of Review of Motion Pictures. People's Choice Awards. Phoenix Film Critics Society.

December 28, Archived from the original on March 2, Archived from the original on April 30, June 24, Retrieved January 3, October 16, Archived from the original on October 18, Young Artist Foundation.

March 13, Archived from the original on August 8, Archived from the original on July 22, February 3, April 16, Gawker Media. July 14, John Ajvide Lindqvist.

Films directed by Matt Reeves. Hammer Horror. Jekyll Dr. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

How did you buy your ticket? View All Videos 1. View All Photos Movie Info. Bullied at school, neglected at home and incredibly lonely, year-old Owen Kodi Smit-McPhee spends his days plotting revenge on his tormentors and spends his nights spying on other residents of the apartment complex.

Both outcasts, the two form a strong bond. When Abby's caretaker disappears amid a series of gruesome murders, Owen begins to suspect that she is hiding a terrible secret.

Matt Reeves. Oct 7, Fish Head Productions. Kodi Smit-McPhee Owen. Richard Jenkins The Father. Cara Buono Owen's Mother. Elias Koteas Policeman. Sasha Barrese Virginia.

Dylan Kenin Larry. Chris Browning Jack. Ritchie Coster Mr. Dylan Minnette Kenny. Matt Reeves Director. Matt Reeves Screenwriter. Donna Gigliotti Producer.

Alexander Yves Brunner Producer. Simon Oakes Producer. Tobin Armbrust Producer. Guy East Producer. John Nordling Producer.

Carl Molinder Producer. Nigel Sinclair Executive Producer. Five Favorite Films with Gina Carano.

October 14, Rating: 3. October 7, Full Review…. September 13, Rating: 3. June 3, Rating: 3. April 6, Full Review…. November 16, Full Review…. October 29, Rating: 3.

August 20, Full Review…. View All Critic Reviews Sep 15, Sure, the monster from "Cloverfield" was big and scary and whatnot, but boy, Matt Reeves has shown you no form of terror until he's shown you the wrath of any young girl, much less Hit-Girl as a supernatural monster.

Man, with "Step Brothers" and now this film, I guess it's safe to say that any person Richard Jenkins takes into his home is going to be seriously messed up, especially if that person has been a child for way too long.

Sorry, teenagers, but there is no Will Ferrell to be found here, though if you want to cool down from all of that cheesy "Twilight" stuff, you're ironically going to have to look into this melodramatic romance between even younger kids for some hardcore thrills Hey, I'm still glad that the kid is in here, not just because he's a good actor, but because he needs the work, as the money he's making off of low-profile Australian films isn't going to do when he grows up and has to deal with real-life blood-sucking girlfriends.

Ah, young love, it just got a whole lot more disturbing, and I'm cool with that, because it sure does make for a good movie, and yet, unlike life in "The Road", not everything bites in a good way that is , and for a couple of reasons.

A serious blow to the original is natural shortcomings, and seeing as how this film has the same story, it too faces natural shortcomings, but, strangely enough, to a lesser extent, as the strengths of this story - of which there are, in fact, many - are more celebrated with this interpretation, thus obscuring the conceptual thinness, though not enough for you to fully disregard the draggy sparseness of this narrative, much less the characters' having some questionable traits and facing some histrionic situations.

Of course, natural shortcomings might be relatively easy to spot because this story is too familiar for its own good, and by that, I don't necessarily mean that this film is way too faithful to its Swedish counterpart, - even though it is anything but a loose remake - as much as I mean that this film is more faithful to dramas of this nature than its counterpart.

Even if you haven't seen "Let the Right One In", this film is kind of predictable, and that would be fine I guess if Matt Reeves didn't stay faithful to Tomas Alfredson's taking too long to tell this familiar and dramatically limited tale, being not as meditative upon nothingness as Alfredson, but still dragging sparse storytelling out, sometimes to an aimless point that is made more glaring by draggy atmospheric pacing.

What really undercut "Let the Right One In" as underwhelming was it's being pretty dull in a lot of places, and here, Reeves' cold directorial atmosphere is controlled and flavorful enough to keep dullness at bay and intrigue at the forefront, but it still steadies momentum more than it probably should, until, after a while, blandness leaves you to lose your full grip on the compellingness.

I must admit, this film starts out very well, promising to be a particularly strong art thriller through a not-so thrilling sobriety that subtly draws a lot of intense heart, but where this could have been, at the very least, 's "", Reeves sustains steadiness throughout a body that doesn't pick up as often as it should, and before you know it, you're meditating on light flaws that end up going a long way in betraying full potential, no matter how much Reeves boasts an ambition that ironically pronounces shortcomings even more.

If there's an error in Reeves' efforts to make a strong drama, there's no missing it, and while the strengths go a long way in crafting a rewarding dramatic thriller, the shortcomings counteract the efforts to craft a strong film.

Nevertheless, the film goes far enough to compel through and through, being not fully celebratory of strong potential, but decidedly superior to its counterpart, even when it comes to artistry.

Giacchino's score is outstanding, as well as complimentary to the film's engagement value, featuring sparse compositions that are beautiful and effective enough to keep the film from getting too slow, and go matched in loveliness by Greig Fraser's cinematography, because even when it comes to visual style, something that "Let the Right One In" excelled at, this film is substantially stronger, having a chilled color, with warm hints and an emphasis on both sparse lighting and shadows that is very neo-gothic and unique, with a consistent gorgeous that is very often chillingly supplementary to a claustrophobic and dark tone.

This film's Swedish counterpart really stood out, at the very least, stylistically, and even when it comes to artistry, this ambitious reinvisioning steps things up, so you know that substance handling is sharper this time around, as it's more celebratory of potential.

Now, this film's story isn't as fresh as it was when it was first introduced through "Let the Right One In", and arguably overwhelming faithfulness in storytelling, broken up by a conventionalism not found in the Swedish counterpart doesn't exactly help, but this is still a distinguished story, with subtle layers and a certain strength that is much more clear in this particularly interpretation, due to direction's being, like most everything else in this film, stronger than it was in the original.

The directorial approaches that Tomas Alfredson and Matt Reeves take on this story are pretty similar, in that they're both very atmospheric and somber, but where Alfredson's atmosphere got too cold for its own good with "Let the Right One In", Reeves never lets the air get too dry, keeping a slow pacing up for way too long, to be sure, but presenting a brood that keeps dullness at bay by drawing much intrigue throughout the film, punctuated by tension, if not emotional resonance.

Cameron J Super Reviewer. Aug 01, For that, we people were grateful. None of the cases above apply.

Matt Reeves simply wanted to cash in. The Swedish masterpiece had also received worldwide acclaimed and prestige by audiences and critics alike, so the explanation is not there either.

This was obviously aimed at subtitles haters and people that stick to English-spoken films, like if English deserved cultural monopoly as a worldwide language.

Of course I am not excluding those that were seeking to restore their hope for remakes, or simply wanted to experience the fantastic story again.

I raise my glass with them. Good for her. Some scenes are recreated effectively; maybe it was the fact that I had known what would happen in every single scene beforehand that increased my suspense throughout the remake: "How will they handle horror in the scene that is about to come next?

Please somebody explain me: what was the point? I ask this in the most positive tone. What am I missing? Edgar C Super Reviewer. May 20, If you think that romantic horror is a genre you could handle well - this is the real thing!

Real art of story telling of a bullied year-old boy who develops a friendship with a vampire girl in Los Alamos, New Mexico in the early s.

I enjoyed every minute of it! Compared to the original version there were few changes like altering the setting from Stockholm to New Mexico and renaming the lead characters but the plot was very similar to the original.

This was one of the rare Hollywood remakes which stayed true to the original film from which it was based, but had enough of its own not to add insult to inspiration.

Everything was just right! Especially the feel of intimacy without too much complexity. If you are ready for a dark and violent romantic love story this should on your list Panta O Super Reviewer.

Nov 28, One of those rare remakes that not only meets but arguably surpasses the greatness of its original, Let Me In is haunting but touching, brutal yet beautiful, with two of the best performances by child actors this genre has seen since The Sixth Sense.

Cloverfield director Matt Reeves nails the melancholic pacing, understated humility and visceral tension that made its Swedish counterpart a masterpiece in dramatic horror, and as a result, he's crafted one of his own.

Tedd P Super Reviewer. See all Audience reviews. Abby: Just so you know, I can't be your friend. Owen: How old are you? Abby: Twelve.

But I've been twelve for a very long time View All Quotes. Best Horror Movies. Worst Superhero Movies. Best Netflix Series and Shows.

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Let Me In Film Inhaltsverzeichnis Video

Let Me In 2

Let Me In Film Darsteller und Crew

Ferner erfährt Owen, dass ihr verstorbener Begleiter nicht Femme Fatal Vater, sondern ein früherer Freund von Seriencloud sei. Doch das hat Methode. Der schüchterne zwölfjährige Owen wohnt zusammen mit seiner streng religiösen und alkoholabhängigen Mutter im obersten Stockwerk eines Mehrfamilienhauses in Los AlamosNew Mexico. Während die Todesrate in der Umgebung dramatisch steigt, ändert sich die Kinderfreundschaft und Owen taucht mehr und mehr in Abbys Welt ein. Letzten Endes muss man Reeves von sämtlichen Anklagepunkten freisprechen: Ein Trittbrettfahrer des Vampir-Booms ist er definitiv nicht. Namensräume Artikel Diskussion. Dabei wird man in der ersten Szene zunächst auf eine falsche Fährte gelockt: Mit Rotlicht und Sirenen bahnen sich darin Ambulanzen und Polizeiwägen den Weg durch das nächtliche New Mexico. Untertitel lesen Bohnenstange sich eben manchmal doch. Die alten Schwächen bestehen weiterhin und die Stärken bleiben auch weiter bestehen. Die Computeranimationen hingegen fallen etwas gewöhnungsbedürftig aus. Weltpremiere war am Zwar engt Reeves damit den Interpretationsspielraum ein, schlüssig ist diese explizitere Ausdeutung aber allemal: das Verantwortungsdilemma der Hauptfiguren wird mit Supergirl Sendetermine Entmystifizierung der Figur noch einmal Auch Ein Sheriff Braucht Mal Hilfe Youtube aller Deutlichkeit unterstrichen. Dezember Neu ab 7. Let Me In Film Let Me In Film Matt Reeves. Eine Krankenschwester unterrichtet ihn darüber, dass im Eingangsbereich des Krankenhauses ein kleines Mädchen nach dem Patienten gefragt habe. Wie bewertest du den Film? Wissenswertes. Ähnliche Filme Conan the Barbarian. Erst Rtl Now Live Stream er sie angsterfüllt fragt, ob sie auch ihm etwas antun würde, gibt sie den Weg frei. Der zwölfjährige Owen lebt im winterlichen Los Alamos des Jahres mit seiner alleinerziehenden Mutter. Let Me In Film

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