Cloverfield director Matt Reevess is given the unenviable task of remaking Tomas Alfredson’s fabulous Swedish vampire instant-classic, Let The Right One In. While I quite dug Cloverfield, it had a lot more going on in the aesthetic and tone department than the gimmick that it could have bee, the usual remake rules apply: I doubt that Reeves remake can find the razor thin balance of emotion that Alfredson managed. The film is delicate and I am a bit skeptical that it will survive remake mauling. The reminted Hammer Studios own the rights for the remake and are behind the production. It is interesting that they are going back to their vampire roots, but taking things in a very modern direction (i.e. subtle drama, remake, etc.)
I caught the original at Fantasia earlier this year (where it won the Audience Award, not to mention that it picked up best narrative feature at Tribeca). While I have a few minor issues with where it went at the end, I still love the movie. A Lot. Marina is expected to see it very soon and her thoughts will show up with her VIFF coverage. Likewise Andrew & I are going to watch it in October as it is on the Toronto After Dark lineup. If you have not caught the original at a festival yet, when Magnet Releasing puts it out in the cinemas: Run, don’t walk…
I swear, studios must think general audiences are mentally challenged or that they have a subtitle phobia. Why won’t they just give movies like this a chance in major multiplexes? You know how many people would have seen this or REC if they had done that? But of course, that would mean they couldn’t easily profit on a needless and high-budgeted remake. I’m glad you guys bring attention to the movies that really do deserve it.
Dread Central (http://www.dreadcentral.com/story/original-director-talks-right-one-remake) has some comments from Director Thomas Alfredson on the remake, which probably echo what everyone who has seen the film, or laments remakes in general, is thinking:
”Remakes should be made of movies that aren’t very good, that gives you the chance to fix whatever has gone wrong,” he correctly pointed out to the site. “I’m very proud of my movie and think it’s great, but the Americans might be of another opinion. The saddest thing for me would be to see that beautiful story made into something mainstream.”
American audiences do have a subtitle phobia.