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Special Features
Audio Commentary with Writer/Director Matt Reeves
From the Inside: A Look at the Making of LET ME IN
The Art of Special Effects, Crash Sequence Step-by-Step
Deleted Scenes with Optional Commentary by Writer/Director Matt Reeves
Trailer Gallery, Poster & Still Gallery
Also on DVD
From the Inside: A Look at the Making of LET ME IN
The Art of Special Effects, Crash Sequence Step-by-Step
Deleted Scenes with Optional Commentary by Writer/Director Matt Reeves
Trailer Gallery, Poster & Still Gallery
Also on DVD
Editorial Reviews
From Matt Reeves – the writer/director of Cloverfield – comes the new vampire classic that critics are calling “chillingly real” (Scott Bowles, USA Today) and “one of the best horror films of the year” (Cinematical). In bleak New Mexico, a lonely, bullied boy, Owen (Kodi Smit-McPhee of The Road), forms a unique bond with his mysterious new neighbor, Abby (Chloë Grace Moretz of Kick-Ass). Trapped in the mind and body of a child, however, Abby is forced to hide a horrific secret of bloodthirsty survival. But in a world of both tenderness and terror, how can you invite in the one friend who may unleash the ultimate nightmare?
Based on the Swedish novel, Let the Right One In, “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.” (John Ajvide Lindqvist, author).
O-sleeves are included only during the initial manufacturing run of the DVD.
Customer Reviews
Most Helpful Customer Reviews
180 of 199 people found the following review helpful
Format:Blu-ray
Let Me In is one of the most beautiful films of the year, and probably the best remake that I have ever seen. It is based on the Swedish film, Let The Right One In, which was released two years ago to monumental acclaim from both critics and art-house audiences alike. This touching story, concerning a young man's crush on a 12 year old vampire named Eli, captured the hearts and minds of everyone who was lucky enough to see it. If Ingmar Bergman were to direct a vampire-themed film, it would look a lot like this. However, one should not think of the film as yet another entry into the recent "vampire" craze. It is much more than that. This is the film that Twilight only wishes that it could be.
The remake deviates structurally from the original, only in that the opening is a bit different, and a few minor characters have been altered or dropped altogether. The integrity of the storytelling remains intact, and as a result, much of the remake resembles the original in all of its snow-drenched glory.
Kodi Smit-McPhee plays Owen, a lonely young man who is constantly bullied at school in the most brutal fashion. He spends his evenings at home playing with knives, and spying on the attractive neighbor next door. In addition to these disturbing quirks, he has an almost addictive fondness for Now and Laters, and constantly eats the candy throughout the film. Chloe Moretz plays Abby, a young girl who moves in next door with a man that we initially assume is her father. The two meet on the playground one night, and bond over the intricacies of a Rubick's Cube. Soon, Owen develops a crush on his new friend, oblivious that Abby is really a vampire, and that her "dad" is in fact a serial killer, who creeps out into the night, stalking and killing random victims in order to bring buckets of blood back to Abby, in order that she will survive.
Meanwhile, an older cop tries to figure out who the mysterious killer is, as the bodies continue to surface. As far as Owen is concerned, the bullying still continues at school, but with a little advice from Abby, and a little bit of weight training, Owen realizes that he can stand up for himself in one of the film's most shocking - and darkly comic - sequences. It doesn't take long for Owen to realize who and what Abby really is. In all of his fright and confusion, he decides to stay by her side, and as a result, Abby vows to protect Owen in the only way that she knows how.
As I said, this is one of the best films of the year. Both of the leads deserve Oscar nominations for their layered performances. The cinematography is breathtaking. The score is beautiful, although there are moments in the film that could do without a background score. This is my only criticism of this otherwise perfect film. Matt Reeves (Cloverfield) has crafted a worthy tribute with Let Me In.
It is worth mentioning that this film is rated R, and while the film centers on two adolescents, it is not a film for the 12 and under crowd. It is much too disturbing at times, and the language is pretty rough. I would also encourage Twilighters to see the film, so that they may have a clear example of a film (Let Me In) and a product (Twilight).
The remake deviates structurally from the original, only in that the opening is a bit different, and a few minor characters have been altered or dropped altogether. The integrity of the storytelling remains intact, and as a result, much of the remake resembles the original in all of its snow-drenched glory.
Kodi Smit-McPhee plays Owen, a lonely young man who is constantly bullied at school in the most brutal fashion. He spends his evenings at home playing with knives, and spying on the attractive neighbor next door. In addition to these disturbing quirks, he has an almost addictive fondness for Now and Laters, and constantly eats the candy throughout the film. Chloe Moretz plays Abby, a young girl who moves in next door with a man that we initially assume is her father. The two meet on the playground one night, and bond over the intricacies of a Rubick's Cube. Soon, Owen develops a crush on his new friend, oblivious that Abby is really a vampire, and that her "dad" is in fact a serial killer, who creeps out into the night, stalking and killing random victims in order to bring buckets of blood back to Abby, in order that she will survive.
Meanwhile, an older cop tries to figure out who the mysterious killer is, as the bodies continue to surface. As far as Owen is concerned, the bullying still continues at school, but with a little advice from Abby, and a little bit of weight training, Owen realizes that he can stand up for himself in one of the film's most shocking - and darkly comic - sequences. It doesn't take long for Owen to realize who and what Abby really is. In all of his fright and confusion, he decides to stay by her side, and as a result, Abby vows to protect Owen in the only way that she knows how.
As I said, this is one of the best films of the year. Both of the leads deserve Oscar nominations for their layered performances. The cinematography is breathtaking. The score is beautiful, although there are moments in the film that could do without a background score. This is my only criticism of this otherwise perfect film. Matt Reeves (Cloverfield) has crafted a worthy tribute with Let Me In.
It is worth mentioning that this film is rated R, and while the film centers on two adolescents, it is not a film for the 12 and under crowd. It is much too disturbing at times, and the language is pretty rough. I would also encourage Twilighters to see the film, so that they may have a clear example of a film (Let Me In) and a product (Twilight).
88 of 98 people found the following review helpful
By Wileyboy
Format:DVD
Back in 1992, I believe it was, "The Last of the Mohicans" starring Daniel Day-Lewis was released to a blockbuster reception by the public. It was exciting, well acted and beautiful. However, it was not a trans-literation (word for word) of the source novel by James Fenimore Cooper - far from it. Like many films that have novels as their story origin, you must endeavor to take the film on its own merits and not bemoan that what you loved in the book was not on the screen as you hoped. You can love both, one, or neither, but don't hate the one for being unlike the other.
This is the problem many early critical reviewers of "Let Me In" seemed to fall into. They had loved the original Swedish book and film ("Let the Right One In"), but didn't like this American version because the tone and focus is slightly different. (An example would be Reeves' decision to make nearly all characters in the film outside the primaries into archetypes, not only simplifying the narrative, but also reenforcing Owen's isolation - a brilliant choice.) Many critics said things like it's "a needless remake" or "not as faithful as the original" or some such. The damaging thing is that Matt Reeves' beautiful film was not taken on its own terms and therefore was not given a chance by some of the very audience it was made for.
"Let Me In" is beautiful, haunting, disturbing, painfully human and engrossing. The pace is deliberate, but spot-on. This was not made for the slasher film crowd. This is a movie that dares you to think what would life be like for a vampire and those around them. It works as a morality tale about, effectively, a serial killer. It also is the story about adolescence and the horrible pain of that age and the joy of finding a kindred spirit.
What is disturbing is the questions that arise from the relationships in the film. Who needs who, for what reasons, and where does the line between 'love' and 'need' end and the other begin?
The two leads in this film are stunning. No other word will suffice for their performances. They are brilliant and carry the film with their facial expressions. Moretz and Smit-McPhee deserve high praise for their work. Utterly amazing. (Compliments to the secondary players, Jenkins and Koteas, for excellent work as well.)
One final thought, a great film is enhanced by a great musical score. Like "Mohicans", the music in "Let Me In" soars and makes this film an indispensible one.
See "Let Me In" for all the right reasons. If you are a lover of film, this is a can't miss.
This is the problem many early critical reviewers of "Let Me In" seemed to fall into. They had loved the original Swedish book and film ("Let the Right One In"), but didn't like this American version because the tone and focus is slightly different. (An example would be Reeves' decision to make nearly all characters in the film outside the primaries into archetypes, not only simplifying the narrative, but also reenforcing Owen's isolation - a brilliant choice.) Many critics said things like it's "a needless remake" or "not as faithful as the original" or some such. The damaging thing is that Matt Reeves' beautiful film was not taken on its own terms and therefore was not given a chance by some of the very audience it was made for.
"Let Me In" is beautiful, haunting, disturbing, painfully human and engrossing. The pace is deliberate, but spot-on. This was not made for the slasher film crowd. This is a movie that dares you to think what would life be like for a vampire and those around them. It works as a morality tale about, effectively, a serial killer. It also is the story about adolescence and the horrible pain of that age and the joy of finding a kindred spirit.
What is disturbing is the questions that arise from the relationships in the film. Who needs who, for what reasons, and where does the line between 'love' and 'need' end and the other begin?
The two leads in this film are stunning. No other word will suffice for their performances. They are brilliant and carry the film with their facial expressions. Moretz and Smit-McPhee deserve high praise for their work. Utterly amazing. (Compliments to the secondary players, Jenkins and Koteas, for excellent work as well.)
One final thought, a great film is enhanced by a great musical score. Like "Mohicans", the music in "Let Me In" soars and makes this film an indispensible one.
See "Let Me In" for all the right reasons. If you are a lover of film, this is a can't miss.
54 of 62 people found the following review helpful
By A. Berk
Format:Blu-ray|Amazon Verified Purchase
It was with some amount of trepidation that I first heard about the impending release of Let Me In. Like many others, I was quite taken by the original Swedish film, Let the Right One In, which easily secured a spot on my Top 10 of that year. I feared that a remake would only excise the poetic nature of the story in favor of a by-the-numbers vampire film. The attachment of Matt Reeves as writer and director didn't do much to assuage my fears. Cloverfield was entertaining enough for what it was, but its gimmicky shaky-cam aesthetic wasn't very indicative of his directorial abilities. Once the good reviews of the film started pouring in, I figured I'd see it just to say that I did and then forget about its existence shortly thereafter.
Could I possibly have been more wrong? I ultimately saw the film five times during its brief theatrical run. It's been three months since then, and I still can't stop thinking about it. Never before has my reaction to a film been so contrary to my preconceived notions. Not only do I prefer the remake, it has fast become one of my all-time favorite films, and Matt Reeves has shot to the top of my "directors to watch" list. While there is much that can be said for how Let Me In compares to its Swedish counterpart, I'm going to try and keep comparisons to a minimum, because Let Me In stands firmly on its own two feet as a film. The wonderful thing is that one film doesn't have to supplant the other; Let the Right One In is a beautiful film in its own right, and Let Me In is another faithful and unique cinematic take on the same story.
The story in question originally comes from the mind of Swedish author John Ajvide Lindqvist, who wrote the original film as well as the novel that inspired it. The plot revolves around a lonely 12-year-old boy who is bullied mercilessly at school and finds solace in his budding relationship with the girl who lives next door. Unbeknownst to him, the girl also happens to be a blood-thirsty vampire who has been 12-years-old for a very long time. Reeves' adaptation of the material is respectful, thoughtful, and personal. In rendering his version of the story, he draws on the overall structure of the original film, various details from the original novel, as well as some of his own ideas and experiences growing up. Reeves clearly has a firm grasp on the complexities of the material, and he crafts Let Me In as a poignant coming-of-age story, tender love story, and chilling horror story all at once. By thoughtfully transplanting the proceedings to 1980s Regan America, Reeves uses the sociopolitical context of that era as a backdrop for Owen's tortured adolescence, resulting in a subtle exploration of moral ambiguity and duality. Despite its fantastical elements, at its core, Let Me In tackles fundamental human needs - the need to connect, the need to survive, and the need to make sense of a sometimes cold and frightening world. Whereas most modern horror films rely on excessive gore as a substitute for intelligence, Let Me In is one of the select few that brilliantly utilizes its horror premise as a multi-layered metaphor to explore a variety of thought-provoking ideas.
While Reeves' screenplay adaptation is impressive in its own right, his directorial style is just as powerful and artistic. Simply put, Let Me In is one of the most elegantly directed horror films I've had the pleasure of watching in a really long time. Reeves' controlled and careful direction is a revelation in today's frenetic cinematic world. Let Me In is one of those rare films where virtually every shot helps reveal character and drive the narrative forward. Reeves is clearly an ardent admirer of Alfred Hitchcock, and his point-of-view driven visual storytelling does an admirable job of cementing the audience in the perspective of the central characters. Furthermore, he injects his film with a sense of dread and tension that would have made the Master of Suspense proud. Between Reeves' crafted cinematic approach and his cinematographer's haunting gothic visual palette, Let Me In is a breathtaking and beautiful film to behold.
Finally, a discussion of Let Me In's strong suits isn't complete without addressing the power of its two lead performances. Kodi Smit-McPhee and Chloe Grace Moretz may have only been 12-years-old at the time of filming, but their performances exude a sense of depth and maturity far beyond their years. Let Me In may revolve around two children, but it is a dark and complex film for adults, and the fact that McPhee and Moretz are able to shoulder the weight of the film with such a sense of grace speaks volumes for their talent as actors. Richard Jenkins and Elias Koteas turn in excellent supporting performances, but the central story of Let Me In lives or dies by the success of its two leads, and McPhee and Moretz play a huge part in making Let Me In the emotionally charged film that it is.
Although it didn't do nearly as well as it should have at the box office, Let Me In deserves to find a larger audience on DVD and Blu-ray. It's a rare and precious gem that got unfairly swept aside in the chaotic rush of awards season, despite its strong critical reception. In a cinematic climate where countless films are created solely to cash in and make money, it comes as a startling surprise that such a moving, layered, and crafted piece of cinema would come in the form of a remake. And yet, Let Me In is all of these things and more. Anyone who likes their films to have equal doses of artistry, emotion, and intelligence owes it to themselves to pick up a copy of Let Me In. Don't let the genre deter you; it's not just an amazing horror film, it's not just an amazing remake, it's an amazing film, period.
Could I possibly have been more wrong? I ultimately saw the film five times during its brief theatrical run. It's been three months since then, and I still can't stop thinking about it. Never before has my reaction to a film been so contrary to my preconceived notions. Not only do I prefer the remake, it has fast become one of my all-time favorite films, and Matt Reeves has shot to the top of my "directors to watch" list. While there is much that can be said for how Let Me In compares to its Swedish counterpart, I'm going to try and keep comparisons to a minimum, because Let Me In stands firmly on its own two feet as a film. The wonderful thing is that one film doesn't have to supplant the other; Let the Right One In is a beautiful film in its own right, and Let Me In is another faithful and unique cinematic take on the same story.
The story in question originally comes from the mind of Swedish author John Ajvide Lindqvist, who wrote the original film as well as the novel that inspired it. The plot revolves around a lonely 12-year-old boy who is bullied mercilessly at school and finds solace in his budding relationship with the girl who lives next door. Unbeknownst to him, the girl also happens to be a blood-thirsty vampire who has been 12-years-old for a very long time. Reeves' adaptation of the material is respectful, thoughtful, and personal. In rendering his version of the story, he draws on the overall structure of the original film, various details from the original novel, as well as some of his own ideas and experiences growing up. Reeves clearly has a firm grasp on the complexities of the material, and he crafts Let Me In as a poignant coming-of-age story, tender love story, and chilling horror story all at once. By thoughtfully transplanting the proceedings to 1980s Regan America, Reeves uses the sociopolitical context of that era as a backdrop for Owen's tortured adolescence, resulting in a subtle exploration of moral ambiguity and duality. Despite its fantastical elements, at its core, Let Me In tackles fundamental human needs - the need to connect, the need to survive, and the need to make sense of a sometimes cold and frightening world. Whereas most modern horror films rely on excessive gore as a substitute for intelligence, Let Me In is one of the select few that brilliantly utilizes its horror premise as a multi-layered metaphor to explore a variety of thought-provoking ideas.
While Reeves' screenplay adaptation is impressive in its own right, his directorial style is just as powerful and artistic. Simply put, Let Me In is one of the most elegantly directed horror films I've had the pleasure of watching in a really long time. Reeves' controlled and careful direction is a revelation in today's frenetic cinematic world. Let Me In is one of those rare films where virtually every shot helps reveal character and drive the narrative forward. Reeves is clearly an ardent admirer of Alfred Hitchcock, and his point-of-view driven visual storytelling does an admirable job of cementing the audience in the perspective of the central characters. Furthermore, he injects his film with a sense of dread and tension that would have made the Master of Suspense proud. Between Reeves' crafted cinematic approach and his cinematographer's haunting gothic visual palette, Let Me In is a breathtaking and beautiful film to behold.
Finally, a discussion of Let Me In's strong suits isn't complete without addressing the power of its two lead performances. Kodi Smit-McPhee and Chloe Grace Moretz may have only been 12-years-old at the time of filming, but their performances exude a sense of depth and maturity far beyond their years. Let Me In may revolve around two children, but it is a dark and complex film for adults, and the fact that McPhee and Moretz are able to shoulder the weight of the film with such a sense of grace speaks volumes for their talent as actors. Richard Jenkins and Elias Koteas turn in excellent supporting performances, but the central story of Let Me In lives or dies by the success of its two leads, and McPhee and Moretz play a huge part in making Let Me In the emotionally charged film that it is.
Although it didn't do nearly as well as it should have at the box office, Let Me In deserves to find a larger audience on DVD and Blu-ray. It's a rare and precious gem that got unfairly swept aside in the chaotic rush of awards season, despite its strong critical reception. In a cinematic climate where countless films are created solely to cash in and make money, it comes as a startling surprise that such a moving, layered, and crafted piece of cinema would come in the form of a remake. And yet, Let Me In is all of these things and more. Anyone who likes their films to have equal doses of artistry, emotion, and intelligence owes it to themselves to pick up a copy of Let Me In. Don't let the genre deter you; it's not just an amazing horror film, it's not just an amazing remake, it's an amazing film, period.
Most Recent Customer Reviews
4.0 out of 5 stars
I liked it
I enjoyed this movie. It isn't your standard horror/vampire flick but I thought the acting was good and the story was entertaining and original. Read more
Published 4 days ago by NateO
5.0 out of 5 stars
TWILIGHT FOR GROWN UPS
At the core of this film, is a love story, however; not in the usual sense, but rather, a story of innocent love, without Eros. Read more
Published 10 days ago by ACRIMONIOUS
5.0 out of 5 stars
Finally a remake as good as the original! Maybe even better!
This is not only one of the best remakes of a horror film I think I have ever seen but it is also one of the best remakes in recent memory of a foreign film I have seen. Read more
Published 16 days ago by Natja Kristy
5.0 out of 5 stars
Not for everyone but haunting, creepy and tender and sad all at once...
"I am nothing" Abby the main character responds to a question when asked if shes not a girl what is she, its sad devastating answer whcih answers the question if you were frozen at... Read more
Published 17 days ago by James Denig
5.0 out of 5 stars
I Love Chloe
I've seen everything Chloe Moretz has done and none of it has been bad. You owe to yourself to pick up this Vampire story with a different take on the mythos and a twist that make... Read more
Published 23 days ago by M. S. McIntyre
5.0 out of 5 stars
I LOVE this movie. It was well worth the price. Who doesn't love the...
I LOVE this movie. It was well worth the price. Who doesn't love the old classic monsters? Yup, love em!
Published 25 days ago by Hillard Green
5.0 out of 5 stars
Great Movie
I am not a person that watches scary films, however, I was really drawn into this movie. The two young actors were so good with their performances that I overlooked the scary... Read more
Published 1 month ago by Honest-Jane
5.0 out of 5 stars
The great vampire film I ever watched
charming child characters and interesting plot line. You would not regret to watch it. Not to gory, somewhat sentimental and nostalgic.
Published 1 month ago by EunAh Lee
5.0 out of 5 stars
Chloe is so talented
the director did a good job of shedding new light on what is blind love and what is evil as we perceive it.
Published 1 month ago by Shawn Fields
5.0 out of 5 stars
What an amazingly great filc (genre buster)...oh yeah, with a vampire
Both versions (original and remake) are enjoyable to watch. The original is .... (not) shockingly just wonderful. Not a description most would associate with a vamp flic? Read more
Published 1 month ago by M. Coughlin
