If there is one upcoming movie we talk about around here more than any other, it is probably Thomas Alfredson’s Swedish vampire film Let The Right One In. This may be a function of the recent resurgence of vampire properties (from Twilight to True Blood), but really, it is because this film is an certainty for ‘instant classic.’ While there is the inevitable US remake scheduled for 2010, Magnolia pictures genre arm Magnet are putting the original out into the theatres; meaning the chance of catching this one outside of a festival on a big screen is a very real possibility.
I was (justifiably) upset that Magnet went a long way towards spoiling Timecrimes with their super-explicit trailer; and in selling Let The Right One In stateside there are a lot of ‘money shots’ on display. But you have to hand it to them for capturing the dangerous innocence/corruption/love tone which the movie so delicately balances. For those who want the really pure experience, I still suggest avoiding this (excellent) trailer; however for those who want to start salivating now: See Below.
Further note that the Toronto After Dark film festival has this one as their opening night feature on October 17th, 2008. Hope to see the locals there.
Both the trailer (High Res version recommended) and my Fantasia capsule review are tucked under the seat.
Kurt’s Fantasia Capsule Review:
There is a lot of festival buzz and hype surrounding this low-key Swedish vampire love-story. This is in no small part because the film deserves it; particularly the Best Narrative Feature win at Tribeca. The big hype may play a part in squashing this delicate, subtle and patient film, which has is executed with the tone of Guillermo del Toro’s Cronos yet mines similar ‘immortality sadness’ themes as Tony Scott’s (obviously much more bombastic) The Hunger. It is also a fabulous mix of coming of age sweetness with distant emotional storytelling (so often found in Scandinavian cinema). The film has visual smarts (it shows the story as opposed to ‘telling it’ — those looking for expositional hand-holding are going to be left in the cold) to burn but keeps things always grounded in the story of 12 year old Oskar and his tender initiation into love and violence. Let The Right One In insists on keeping the audience on its toes with quiet unpredictability.
