strange object mimetic Let me in looks like a replay of the bland and disciplined masterpiece of Swedish multi award-winning in festival, Morse. Matt Reeves (Cloverfield) takes up the frame, the atmosphere and twists that have made the critical success of the original to provide a copy / paste altogether honest but without any appreciation or emotional, or plastic. But why a remake?
When Morse was released in 2008 on the screens, the phenomenon known vampiric unprecedented interest (Underworld, Twilight series True Blood and Vampire Diaries. ...) But the little Swedish film, despite critical acclaim modestly fails to attract the public hall. They had not reckoned American opportunism. Sniffing the potential Morse (a vampire movie tweens who fall in love, to really short), producers alpaguent a bankable director in the person of Matt Reeves, and the remake is underway. Less than two years after the original, then copy arrives on our screens.
New Mexico, 1983. The existence of Owen (Kodi Smit-McPhee, the boy from the Road), mid-mid-adolescent child, divided between the bigotry of her mother, sometimes violent ridicule he had suffered at school and extreme loneliness that never leaves. Spending his time to snack on sweets alone in the courtyard of his building, he made one evening met his new neighbor, Abby, taciturn young blonde (the kid killeuse Kick-Ass, Chloe Moretz). Through a friendship turns to love, Owen discovers the terrible secret of the girl, belonging to the race of vampires.
Abandoning the linear narrative construction of the original, which invited the viewer to a viewing apneic and a letting go emotionally, Let me in fact the choice of a scenario more suited and far more dynamic. Starting his film as an action, Reeves offers an opening scene, all in a handheld camera, close-ups and indistinct epilepsy and begins thus artificially pump suspense. The public, parachuted from a random episode about which he knows all the ins and outs, saw his curiosity and fueled his desire to understand exacerbated. But the pace blown into the first few minutes to evaporate the moment a long explanatory flashback takes over. It was then discovered Owen, struggling with her daily in the heart of the snowy winter of New Mexico (perfect echo the decor of Sweden immaculate original). The flabby he shows resonates with the slow pace of construction of the relationship between him and Abby. He is shy, she is fierce, their environment hostile. Like two frightened animals, they observed and not allow themselves to win the trust only after a long prelude.
If the throbbing rhythm Let me in offering the viewer the time of immersion, without being bored, the atmosphere in the world of actors, unfortunately, with heavy weights. Vampire movie requires, the director must have thought a mandatory physical metamorphosis of Abby when she eats. The hunting sequences are similar then to an unlikely mix (and undigested) from The Grudge to the mobility of the monster and the Exorcist for his appearance. Abby is because under the camera Reeves, a monster. While reports of the characters tend to erase their racial distinctions to focus only on what they feel (to Abby's question "Do you love me if I was not a girl?" Owen invariably answer "yes"), the passages vampire away instead of Abby human status. This highly differentiated treatment of the character of Abby makes it difficult public compassion for the girl and almost impossible the credibility of this love story. As the decorum of New Mexico, he retains the winter atmosphere isolation (the whiteness of the snow as a symbol of virginity doomed to disappear in the blood), he errs on the side color. Far from the triad colorist Morse (white, red, black) who built the open space of the courtyard of a building (the geographical heart of the story) instead highly intimate and poetic, let me get crushed by the symbolism of the orange lights , lessening the surreal nature of these appointments.
Worn by young actors at the edge of their sexual awakening, the vampire myth is so special in that age the best setting for his speech. Mined of unconscious wishes, impulses of death, violence returned, the two heroes operating in a world where adults are absent. Unable to support herself, the father of Abby (a former lover who has grown old while remaining in the service of his beloved) fails in its role as purveyor of fresh blood. Owen's mother, divorced, is struggling to raise her child so much so that the camera does not pick up. Blurred, or back view from a child, it symbolizes the idea kindergarten without ever reaching the truly embody. Left to themselves, the "lovers" experimenting vampirism as a transition to the age of reason; Abby sanguinarily becoming autonomous, emancipated Owen family of religious dogma.
For if Reeves has learned a lesson Morse is undoubtedly its allegorical significance. With this "discovery", he clumsily tried also to print a subtext to the film, but not subtle means. Where poetry surfaced and the notions of Good and Evil were constantly displaced invalidating any corporation, let me get used heavy artillery: the speeches of Ronald Reagan moralists in the background, the prayers of mothers everywhere ... So pitting realism primary evidence of the inability of the director to think his audience able to perceive the invisible, feel the unspeakable, to believe the impossible.
The "remakage" has its good points (Piranhas) but Americans have become accustomed in recent years to a low quality Stakhanovism Replay (Dark Water, The Ring and soon Old Boy or Battle Royale). Let me in clearly belongs to this category. Filmed without originality or passion, the film distract those who were unaware of Morse and revive, for others, the desire to see him. It already better than nothing ...
Posted: http://www.critikat.com/Laisse-moi-entrer.html
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