Friday, 12 November 2010

The One Where Let Me In Is Number 3

I've been meaning to tell you about the third best film of the year.

I'm working extra today, so I thought I'd let it post while I'm out.

Friday is cinema day, you see.

Well, it used to be...

9:00 PM showing on a saturday, for a new release. Used to be a big deal.

When JMcG and I turned up at Port Solent, with ten minutes to spare, (after I kicked his and Ollys Ollies ass at Pro Evo), we didn't need to rush.

It was empty. Maybe three couples there, (not including us. We may be gay Icons, but we don't go in for those back door shenanigans).

We had to go, though. It wasn't on at CineWorld - the first time my pass has come back to haunt me.

Was it worth it?

The opening line probably gave that away.

It's bloody brilliant.

Not just as remake of a Classic, (Let The Right One In), but as a film in its own right.

JMcG hasn't seen the original. He may surprise us by commenting on this Blog one day, and responding to the jibes. Googling "Google Account", and setting one up is hard, though.

Plus he's normally busy trimming his beard, or trying to keep up with me on Black Ops (!)

That made for an interesting chat, as it was all new to him.

His review, as he sat there, shaking at the films majesty?

"Chilling... Poetic... Beautiful".

Put that on your poster, Hammer! (Who relaunch with a Marvel style Icon. I was never a fan, but this could be great news for Horror).

As a huge fan of the original, I was arguably harder to please.

I think I prefer this version.

And no, Dom, it has nothing to do with not needing subtitles! (OK, OK. Maybe a lil bit).

What Matt Reeves has done here is genius. He's trimmed it down, started in the middle, and worked his way backwards.

It all just... works.

I was impressed with Cloverfield. I thought people went a bit OTT on it, but here Reeves proves that was no fluke.

He knows where to put the camera - like in the back of a car, as it swerves on to the road the wrong way, then crashes through the barricades, and falls several times. The camera is mounted in the back, the whole time. Reeves is not about showing the budget here. There's no Statue Of Liberty thrown in to screen - that always pissed me off, btw. JC got there waaayyy before, with the front cover to Escape From New York.

He lets the camera sit there during the quiet scenes, too. Chloe Moretz proving Kick Ass wasn't a fluke, either. She's brilliant here. Far more subtle than the subject matter gives her any right to be.

The lad from The Road is solid, too.

We need them to both steer clear from doing a Drew Barrymore, or Dakota Fanning. They are certainly worth whatever Hollywood is paying them.

So, the original is a classic. Understated. Poetic. Perfectly paced, although too measured for some.

How is this better?

Well, it gets bonus points for being a remake. That's a disadvantage, no matter what any one says.

But Reeves plays on the theme of the original, whilst making it his own.

I could watch them both on the same night, (and would have, if JMcG hadn't eagerly pinched my Blu!)

There must be something to poke at?

Did they cut too much out?

Does it still have it's heart?

Hmm... It arguably loses out on both of those points. I bought into the main relationship though, and that's critical.

I think the biggest red mark is against the CGI.

Hollywood being Hollywood felt it had to ramp things up.

During the "vampire" attacks it works brilliantly. It makes them feral, and violent, in a way the original can only dream of.

Weirdly, after the attacks are done, they decide to keep the CGI as the "vampire" leaves the scene of the crime.

I'll wait for the Blu Ray until I decide if it suffers.

Some bits reminded me of Spiderman. So I'm doubtful.

I would say that to get the shock out of the attacks though, it was def necessary at points.

So that's that.

My Top Three of 2010 nailed on. And I've seen a lot.

Will anything change it?

Well, there's hope for two more.

This one, and this lil beauty...

No comments: