A loan officer who evicts an old woman from her home finds herself the recipient of a supernatural curse. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.
Horror anthology about a psychiatrist who uses virtual reality to probe the minds of three unsuspecting patients, a paranoid woman home alone, a meek man with a roommate from hell (Paxton) and a man obsessed with his own death.
In Los Alamos, New Mexico, the twelve year-old Owen is a lonely and outcast boy bullied in school by Kenny and two other classmates; at home, Owen dreams of avenging himself against the trio of bullies. He befriends his twelve-year-old next door neighbor, Abby, who only appears during the night in the playground of their building. Meanwhile, Abby's father is a wanted serial-killer who drains the blood of his victims to supply Abby, who is actually an ancient vampire. Abby advises Owen to fight Kenny; however, soon he discovers that she is a vampire, and he feels fear and love for the girl. Meanwhile a police officer is investigating the murder cases, believing that it is a satanic cult.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
(at around 1h 21 mins) The word "vampire" is only said once in the film. See more »
The first scene of this movie is the scene where someone is being transported by ambulance escorted by police. During this scene they show two different close ups of the ambulances radio while you hear radio chatter. The radio shown is a CB (citizens band) radio. Law enforcement and EMS do not use CB radios as the are for use by anybody. Emergency services use 2 way radios, they are similar to CB radios but use different frequencies and look much different.
Not only are the paramedics talking on the wrong type of radio, they are also talking on a radio that's not even turned on. CB radios have a signal meter (on the left) that is illuminated by a mini incandescent bulb and they also have a 2 digit LED channel display (on the right, 1-40) See more »
One-three-one to dispatch, come in.
One-three-one, this is dispatch, go ahead.
This is one-three-one. We have a male, mid 50s, with burns over nine to nine and a half percent of his body. Prior to our arrival on scene, the patient apparently doused his head, neck and face with some sort of highly concentrated acid. patient's airway is severely compromised due to fume inhalation. Vital signs unstable. Please advise, patient is a federal suspect. We're coming in with a ...
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The movie's end credits are in the form of black text on a white background, which is the opposite of most movie credits, which are usually white text on a black background. See more »
Let Me In stars two young, but extremely talented, actors: Chloe Moritz as Abby and Kodi Smit-McFee (The Road) as Owen. Both give astonishing performances that transcend the usual vampire tale. There are no pale heart throbs here, and yet there is more emotion and character investment than a typical slasher film. This positions Let Me in - a remake of the Swedish film, Let the Right One In - as a highly original and enjoyable vampire tale.
This newer film is a haunting and oddly redemptive tale of two children, both lonely, both with secrets. Owen is being bullied and threatened at school and is neglected by both his parents, who are going through a divorce. He steals money from his mother and buys candy and a pen knife which fuels his fantasy of defending himself at school. Abbey has a much older and gruesome secret, one that should be more horrifying than it is, but her well written and superbly acted character makes us care for her, despite her supernatural urges and abilities. (Okay, she drinks blood; nobody's perfect.)
The film owes much to its excellent direction by Matt Reeves, (Felicity) as well as its soundtrack and also its sound editing. The classic creepy movie noises – screeching hinges, slamming doors, gasps of surprise and screams of pain – come across as pristine and new in this film, whose overall mood is also enhanced by its locale: the stark winter landscape of New Mexico and the courtyard of a sad, low rent apartment building.
Reeves also gives much homage in this film to both John Ford and Clint Eastwood as well as Hitchcock. Ford and Eastwood for the carefully constructed shots that border on iconic: of figures in doorways, or shadows highlighted against the winter snow. Hitchcock for the recurring scenes of sudden violence, that while gruesome, also became somewhat rote and thus, more threatening: See how easy it is to kill someone?
The inherent suspense of this movie should have been diluted by the fact that the trailer and also the early available information on this film both reveal that the haunting and haunted young girl, Abbey, is a vampire. And yet, even with that information in hand, we are surprised by how much we like her, and begin to understand the awkward, deeply emotional relationship that develops gradually between the two children, who find a bond in their mutual isolation and outcast status. Like Owen, we are aware of the violence that Abbey represents but against our own good judgment, (and all that blood) we will feel ourselves liking her and rooting for a good (if not happy) ending. (This review won't spoil the ending for you other than to say it is both expected and unexpected.)
A strong supporting cast rounds out the film: Dylan Minnette (Saving Grace) plays the despicable school yard bully who is ultimately revealed to be a victim in his own family; Richard Jenkins (The Visitor, Burn After Reading) adroitly plays the tortured older man who many believe to be Abbey's father.
Best for viewers who enjoy thrillers. Unlike most slasher films, Let Me In conveyed strong, believable, emotion, pathos, and inevitable empathy for a character who many would not want to meet on a moonless night. But be aware that it also had a lot of blood and gore. Good for older teens and above only. Leave grandma home, but see this film.
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