• The upgrade to XenForo 2.3.7 has now been completed. Please report any issues to our administrators.

Let the Right One In

Oh great, not only is it more vampires in love stories, now it's pre-teen vampires in love stories. Look, vampires are not gay boyfriends/girlfriends for fat, ugly goth girls/fat, ugly, gay goth guys. They are soul less killing machines. Even Dracula tore s**t up on his quest to rape the chick who reminded him of his long lost love. S**t like this, and Twilight, and True Blood on HBO, are all adding to the continuing *****fication of the creatures. I blame Anne Rice, and her trashy softcore gay porn books that she called vampire stories for ruining the image and perception. Now instead of seeing Nosferatu, people think of Tom Cruise making out with Brad Pitt in period clothing when they hear the word "vampire." I hate it, and I hate everyone who likes it, and I hope everyone involved with all of this dies, prefferably in an ironic way like being killed by real vampires.



I can see what your saying but the trailer looks like somewhat of a departure from that. It's more brutal than you would think . I'm no fan of twilight so this is the only vampire movie i have to look forward to.
 
wtf is the matter with u? lol... it's a film... get the **** over it.... wishing death on people... have u even seen the film?

u need psychiatric help... big time... i pity u

English mother f**ker, do you speak it? I'll start taking your advice when you learn proper spelling and grammar, and stop talking like some AIM ******.
 
LOL sad people like you crack me up. Wishing death on people over a film is far far sadder, more pathetic, idiotic, ******ed, and backwards than someone who wouldn't wish death on anyone regardless of how they talked. Do you understand that? I doubt you do. What you said earlier still makes you one of the saddest, most ******ed, juvenile and below average intelligent lifeforms probably ever. You not only are an epic failure in personality, but most likely at life as well. Regardless of how you think I may talk, you need serious psychiatric help since you're the one wishing death on people who are associated with a film or who might like seeing this film. What a sad lonely human being you must be. The level of pity I have for you is indescribable you pathetic, sad soul. Do you need a hug? There there now. You obviously need some form of help to not only control your child like rage but more obviously the serious mental and emotional issues you probably face on a minute to minute level. :) ;)
 
LOL sad people like you crack me up. Wishing death on people over a film is far far sadder, more pathetic, idiotic, ******ed, and backwards than someone who wouldn't wish death on anyone regardless of how they talked. Do you understand that? I doubt you do. What you said earlier still makes you one of the saddest, most ******ed, juvenile and below average intelligent lifeforms probably ever. You not only are an epic failure in personality, but most likely at life as well. Regardless of how you think I may talk, you need serious psychiatric help since you're the one wishing death on people who are associated with a film or who might like seeing this film. What a sad lonely human being you must be. The level of pity I have for you is indescribable you pathetic, sad soul. Do you need a hug? There there now. You obviously need some form of help to not only control your child like rage but more obviously the serious mental and emotional issues you probably face on a minute to minute level. :) ;)
i dont mind watching people argue. but please... please... do not use smilie and winky faces for passive-aggressive punctuation at the end of sentences. think of the children.
 
LOL fair enough, it's all a big joke to me anyways... the dude is seriously disturbed so i'm just writing whatever... I should stop replying to him anyways cuz of how sad he is.
 
LOL sad people like you crack me up. Wishing death on people over a film is far far sadder, more pathetic, idiotic, ******ed, and backwards than someone who wouldn't wish death on anyone regardless of how they talked. Do you understand that? I doubt you do. What you said earlier still makes you one of the saddest, most ******ed, juvenile and below average intelligent lifeforms probably ever. You not only are an epic failure in personality, but most likely at life as well. Regardless of how you think I may talk, you need serious psychiatric help since you're the one wishing death on people who are associated with a film or who might like seeing this film. What a sad lonely human being you must be. The level of pity I have for you is indescribable you pathetic, sad soul. Do you need a hug? There there now. You obviously need some form of help to not only control your child like rage but more obviously the serious mental and emotional issues you probably face on a minute to minute level. :) ;)

Are you for real? You really, really thought I was serious about wanting them to die over a movie? You've been here since 2000 man, by this point you should know that pretty much nothing I say like that is ever serious. If you can't pick up on the obvious jokey part of the "eaten by real vampires" part, then I think you're the one of below average intelligence, who probably needs to seek help, not for emotional issues, but to have the gigantic stick removed from his ass. Seriously, you're just making yourself look stupid here, so you should probably shut the f**k up while you're...well, not ahead, but at least not too far behind.
 
i've heard good things about this movie. However, the bad thing is the other 'movies' associated within the same genre. So the uphill battle is to draw an audience who thinks that this is just another 'Twilight' or whatever.
 
Exclusive: Tomas Alfredson Lets the Right One In
Source:Edward Douglas October 19, 2008


Since it's only a couple weeks to Halloween, it's time to roll out the horror movies - though one foreign country that might not be the first to come to mind for the genre is Sweden. In fact when you think of Sweden, you probably think of Ingmar Bergmann or Pelle the Conqueror, with only Mikael Håfström, director of 1408, being one of the better known recent genre directors to come from the country.

Then along comes Let the Right One In, possibly one of the best vampire movies of the last 20 years, and you realize how much potential the country has for creating horror unlike anything we've seen before.

Based on the book by John Ajvide Lindqvist, which the author adapted for the screen himself along with director Tomas Alfredson, the movie tells the story of 12-year-old Oskar, a boy bullied at school who finds a new best friend in the mysterious girl Eli who has moved in next door, and though he knows she's different, he doesn't realize how much until he gets closer to her. Meanwhile, people have been dying around their apartment complex, the work of a serial killer who just happens to be Eli's father.

The movie comes out at a time when vampires are very much in the public consciousness due to Twilight and True Blood - in fact, it's already slated for an American "remake" by Cloverfield director Matt Reeves, scheduled for 2009 - but Alfredson handles the material more like a coming-of-age romance, the majority of the movie being about the relationship between these two young people, played by first-timers Kâre Hedebrant and Lina Leanderson. That's not to say that the movie isn't exceedingly creepy and violent, as one would home from a vampire flick, and Lindqvist and Alfredson do some fascinating things by incorporating vampire lore into the story.

ShockTillYouDrop.com had a chance to talk with director Tomas Alfredson about making the movie, and though Alfredson doesn't seem to have any intent or inclination to continue in the horror genre, he can rest assured that his movie will be held close to the heart of vampire fans who see it.

ShockTillYouDrop: I know this started out as a book that was very popular and that it was translated into English, though I haven't read it myself. How did you originally get the book and get involved with the movie?
Tomas Alfredson: Well, it was a friend who gave it to me originally, and usually I really hate being given books, because it's a private thing to choose what to read. But this one, it was there on my nightstand for some weeks, but then I opened it and then I got immediately stuck. I suppose it was this very unsentimentally told story about the bullied boy that touched me the strongest, maybe because I had some periods in my own childhood when I was bullied, so that really brought me back to this. It's set in 1982, so it was also a trip back to my own teenage or pre-teen years.

Shock: So that part of the story was what really attracted you to making it?
Alfredson: Yeah, and that it was unsentimentally told, so very harsh and dry and down to earth.

Shock: At the point you read the book, had John already written a screenplay or was it even being thought of to make into a movie?
Alfredson: They was a crowd banging on his door to make a movie, so I was #40 or something. When we met, he knew of me and he liked what I'd done previously, and we got along together very well.

Shock: Calling this a "vampire movie" is a little simplistic, since it's more of a coming-of-age young romance... there's a lot more going on then the vampires, but even so, you don't really think of Sweden when you think of vampires. Was he just inspired by the idea of vampires and wanted to try them in that setting?
Alfredson: I don't know really what his original idea about it, but I suppose Sweden in the winter would be a good place for a vampire to live with 20 hours of darkness every day. This is in the Southern parts, but it's quite dark there, but I suppose he's a big fan of horror stories, so he found this way of blending these two worlds.

Shock: How did you eventually get the job directing it? Did you just approach him to make the movie and optioned it or did the producers bring the two of you together?
Alfredson: I think it was because he liked my previous work, so he thought "this is the right guy to do it," then it was the production company and everything, as usual.

Shock: Was it anything specific in your previous movies they saw that made you right for this? Had you worked with kids before?
Alfredson: Yes, I have, a lot.

Shock: That's interesting, because I would think that would be the hardest part of making this movie is finding the two kids.
Alfredson: Yeah, yeah, it was a huge thing to do. It took nearly a year to find those two kids in opening castings. We don't have professional children's actors in Sweden, so that was a very big thing to do. If one of the children wouldn't work, the film wouldn't work.

Shock: What were you looking for specifically when you knew you had to cast them and what did you have them do in auditions? Did you have them read or did you just talk to them to figure out their personalities?
Alfredson: They didn't read at all, and not during the shooting either. I never let them read anything from paper, so I always read it aloud to them, so they learned by ear, rather than eye. They didn't know what it was all about really, but they started to make this puzzle every day. "Okay, I'm coming in here now" because I think the best way to get the best out of a child actor is…. You really cannot say "you are disappointed with adults." They cannot do anything with that, but if you say, "You're very upset with this specific person right now in this very moment because you're very hungry and he's just taken your food away." You really have to take every and each situation for what it is, and not trying to make it into a bigger puzzle. That's my way to it.

Shock: You obviously can't shoot a movie like this in order, so did they have any idea about the overall story at all?
Alfredson: Yes, a little.

Shock: What about their parents?
Alfredson: Yeah, they had read it and they had made their approval of course, but this was for artistic reasons.

Shock: This is the way you normally work?
Alfredson: Yeah.

Shock: Since John wrote this screenplay, did he have something already written from the novel before you came on board or was that something you developed together?
Alfredson: No, but he was very stubborn about doing it himself, and to begin with, I thought that was not such a good idea.

Shock: Not a lot of authors are good at adapting their own novels, and that can sometimes be a bad thing.
Alfredson: Yeah, and it's like 360 pages or something to lower that down to 90 dialogue sheets, and that's a hard thing to do for an author, but he did a really good job, so I'm happy he did it, because he's a very visual writer and he really understands how to make it work for the screen.

Shock: The movie is very visceral at times, but also very sweet and sublime, so was a lot of that in his writing in the novel and screenplay or was that what you had to bring in terms of creating the visual mood?
Alfredson: Well, a lot of it is in the book and a lot of it is made by me and the photographer, but the best thing about the screenplay I think is that it could almost be told as a silent movie. It's very visually written, so all the dialogue has some kind of poetic shell or layer to the story, which is beautiful and is very good, but you really could turn off the sound and comprehend it anyway. That's so beautifully written in that way and yet, it really gives you a lot of energy as a filmmaker to deal with that. There's nothing more boring than making telephone calls or dialogue-driven drama, unless it's… television could be very good in dialogue-driven dramatics but making this kind of epic visual style.

Shock: I noticed you used a lot of long shots and shooting things from a distance where things are happening more in the background, which is very different from what is the norm these days, and I was really curious about that decision.
Alfredson: That's very nice to hear when you said that you had a good experience watching it on your computer, because I think television and internet has driven it to filmmaking with tighter shots, because the frame is so small, but it's so grand to make a nice cinemascope shot and let the audience have a look around in the frame, what's in there and what's not in there. I think that framing is so interesting to work with active framing that you point out of the frame as much as you point into the frame. What don't we see is as important as what we see, and there are so many details that you can see and put your eyes on in wide shots that's so interesting.

Shock: I think that when the nurse walks outside the hospital looking for Eli is the best example of that. As far as working with the kids and their parents, there's some violence and sexuality, so how did you work with them to understand what is happening?
Alfredson: As I told you, the most important things are to have them there and now, that's the most important thing with a child and then I also talk a lot to the children when the camera is rolling. "Somebody is knocking on the door (makes knocking sound) and the telephone is ringing. Answer and pretend you're not there." The camera is rolling and you get those very fresh moments and I talk a lot while the camera is rolling, so that's a thing that becomes very good, but the sound editors hate it of course.

Shock: That's interesting because the movie has this ambience to it where there seems to be a lot of silence, maybe that's because you're not using the sound from the set or location.
Alfredson: It hasn't to do with that really, but to work with sound as we did in this film is really to frame out certain kind of sounds surrounding them with silence or what you think is silence, because it's not really silence.

Shock: No, you have very good sound design in the movie between the score and the ambience.
Alfredson: So it's very close to the characters and you can really hear...in one scene, you could hear the eyelids shut. We put the microphone here (points next to his eyelash) and you can hear (makes eyelid closing noise) and it really does give life to it. It puts out certain things to surround it by silence, and it's very efficient. All the sounds that the vampire has is all real live sounds. There are no synthetic sounds whatsoever in the film, so everything is analog instruments or real analog sounds from reality. The vampire for instance is a combination of frogs and different kinds of animals (makes growling sounds) and the sounds from her mouth and her breathing and everything, which works very well.

Shock: Do you have any idea what you'll be doing next? This movie will be the first movie of yours a lot of Americans will see, and a lot of genre fans are embracing it because it's a very different take on a very familiar genre. Is that something you want to explore more of or do something completely different?
Alfredson: Well, why not, I say. But I really don't know because I have a fish memory, ten seconds behind and ten seconds ahead, so if somebody gives me a good script that I get turned onto, it could be anything really. Right now I'm going to work with a stageplay at the Royal Dramatic Theater in Stockholm, a comedy, and before this, I did "My Fair Lady," a musical show, you know? So I do a lot of different stuff, but if it's an interesting horror thing, why not?

Shock: Have you started getting chased by Hollywood to direct things since this has been playing so well at festivals?
Alfredson: Yeah, they have.

Shock: Are you interested in pursuing that because there seems to be a lot of space in Sweden and Scandinavia to have more home-grown filmmakers in the industry?
Alfredson: If it's a project that has some air around it and not 50 lawyers...

Shock: Well, so much for Hollywood.
Alfredson: Yeah, yeah… (laughs) or too many people that I don't know around me. I wouldn't be doing a good job.

Shock: And what about this remake they're doing? Are they just going back to the book and doing a version set in America? Do you know anything about that at all?
Alfredson: I'm not involved in that but the Swedish producers are, but that's a separate thing and I'm not involved.

Shock: Do you think this story could work in the same way if not set in Sweden?
Alfredson: I don't know, I really don't. We'll just have to wait and see.
 
Let the Right One In Review
This Swedish vampire film gives a blood transfusion to a dying genre.
by Todd Gilchrist
October 23, 2008 - In the opinion of this critic, vampire movies -- and really, vampire stories -- have pretty much run their course. Unlike zombie stories, which seem to be flourishing in countless forms, vampire mythology has not only been fully established for more than a century, but explored thoroughly in almost every artistic medium. All of which is why Let the Right One In is such a refreshing surprise: A bloodsucker story that's rich with originality and feeling, this Swedish import is a terrific love story and vampire tome that not only rewards the genre's fans but rekindles interest in its virtually exhausted foundations.

Kare Hedebrant plays Oskar, a transparent Swedish youth who is so bullied at school he can't even stand up against the dribble of snot that drains out of his nose when he ventures outside to play in the snow. One day, a girl named Eli (Lina Leandersson) moves in next door and, even though she mysteriously never turns up at his school, the two become friends after she introduces herself one night in front of their building. After Eli's caretaker, Hakan (Per Ragnar), is apprehended by the police for trying to drain blood from a passerby, Oskar begins to realize that Eli is a vampire. Soon, Oskar and Eli develop a tenuous romance, even as she is forced to decide whether she will stay with him or retreat from view where she can continue feeding without attracting attention from the authorities.

Unlike most of the vampire films that preceded it in recent years, Let the Right One In is truly a unique tale -- and not because it "enhances" or otherwise manipulates decades of mythology (vampires still suck blood in order to live, must be invited into people's homes, etc.). At the same time, its characters are ironically more relatable than audiences have seen in quite a long time, thanks to a script that humanizes their problems even when they involve kidnapping, murder, and -- yes -- bloodsucking. The fact that the protagonist is a 12-year-old boy obviously changes the dynamic of the story, but it's really the tender romance between him and Eli (who, despite appearances, is far older than 12) that gives the film its emotional resonance. (Imagine a cross in tone between the exuberant melodrama of Luc Besson's The Professional and the nightmarish comedy of An American Werewolf in London and you're on the right track.)




Fans of the material's horror aspects will be duly satisfied by its abundance of crimson vino, but none of it is ever used purely to gross out or shock the audience. In fact, most of the violence takes place off camera. But director Tomas Alfredson explores the characters' lives -- even those peripheral to the main story -- with incredible sensitivity and depth, making those acts more horrific, even as we understand why they are somehow justifiable. Hakan, for example, continues to make mistakes with each kidnapping attempt. And there's a melancholy resignation in his behavior as he dutifully tries to find blood for Eli, clearly loving her but feeling the physical strain of age and the general exhaustion of committing unspeakable acts on behalf of this little girl.

Simultaneously, Oskar's gradual awareness of Eli's vampirism perfectly captures childlike wonder, advancing maturity and the awkward behavior that ensues in between. Personally, I'm not sure how I feel about the revelation scene itself -- it seems tonally at odds with what precedes and follows it -- but Oskar's behavior is at once curious and casually insensitive, and effectively childish as he acknowledges the "rules" of vampirism and then challenges his friend to break them. At the same time, Eli's awareness that this child knows what she is and ultimately accepts that becomes this remarkable bond that connects them, and provokes her to take chances that literally impact her mortality. That she is still confined in the body of a child from God-knows how long ago creates this fascinating duality between her desperate, preadolescent need for companionship and her more experienced understanding of the repercussions of not only her behavior but his towards her.

There are a handful of truly weird moments that may define the film for folks looking for more superficial thrills (I won't spoil it, but there's a cat attack), but as a whole Let the Right One In works in spite of these scenes, not because of them. At the same time, the film is a singular entity and not a piecemeal collection of odd ideas, so everything works in concert to create a tone and an atmosphere that is at once romantic and tense, funny and horrific, innocent and bleak, tender and sad. (Rumor has it that Hollywood is planning a remake of its own, and it remains to be seen how successfully they will adapt both its emotional content and its visceral.) As far as vampire movies are concerned, however, the most appropriate thing about Let the Right One In is its title. If this manages to find even a little bit of attention, then it might mean locking out lackluster genre forays in favor of more original and genuinely interesting ones in the future.
 
CAN I COME IN FOR A QUICK BITE?
LET THE RIGHT ONE IN
by Albert Lanier

We seem to live in child-obsessed age. Products have to be child-proof, medicines and pill bottles have to have child caps, television shows and video games have to carry ratings in case kids watch them and even jungle gyms and playground equipment have soft surfaces beneath just in case some falls down and hurts himself.

It's a new world for me. When I was kid growing up in the 1970s and fell from the top of a jungle gym once during recess, I merely let my teacher know, brushed it off and went back to adding up how many hostages Jimmy Carter couldn't get released. I don't recall seeing any rating boxes when I watched THREE'S COMPANY and ALL IN THE FAMILY on tv as a young boy and the only way a product was child-proof was if I couldn't pry it open with a butter knife.

Another thing I find amusing is the belief amongst a number of adults in the wider world that many kids are innocent. Even with all the post-modern influences of the internet, video game playstations and cable tv, children are still seen as vessels of purity that can be corrupted by such pernicious influences.

Some filmmakers know otherwise. That's why you have had films like THE BAD SEED and THE OMEN released over the years. Mere entertainment? ********. These films understand children are not pure, not innocent, not noble of spirit. Children experience the world and make up their own minds and conclusions. I don't care who their parents are, kids will do what they are moved to do and what they feel like doing.

The Swedish film LET THE RIGHT ONE IN understands this as well for it is a film about children but grounds its characters not in some sunny suburb where soda, candy and X-boxes are plentiful but in a bleak apartment complex where the only plentiful thing is snow.

The film major protagonist is Oskar, a blonde-haired 12 year old boy who is persistently picked on by a handful of boys so much that it soon becomes sort of a rote, structured occurance.

One night, Oskar meets Eli, a dark haired young girl. She is standing on a jungle gym hovering over Oskar when they first interact and it is clear from Eli's body language and her stance that there is something disturbingly different about her. Eli's eyes give the indication of having seen more than she will ever speak about and the way she talks implies she knows more about you than you would like anyone else to know.

Eli is a vampire. She essentially admits to this in a round about way when she tells Oskar that "I am not a girl." Yet, what is partly so moving about LET THE RIGHT ONE IN is how Eli insists that she has no choice but to sever arteries with her teeth and drink in the life sustaining liquid, the crimson cocktail that is blood.

In fact, Eli seems to act more like a drug addict than a vampire. With her vacant eyes, unappealing wardrobe and generally passive personality, Eli looks like she should be in rehab (but of course, who would force to turn herself in?).

Oskar is also not quite normal. He has an obsession with violence that goes beyond merely getting even with childhood thugs. In one scene, Oskar is being whacked in the legs with a riding crop by his tormentors and when the crop suddenly hits his face and causes a cut, Oskar's eyes are closed as if he is in some orgiastic reverie, his facial expression indicating he is in an almost sexual state of rapture and in communion with the violence perpetrated against him.

There are so many scenes I could go into detail about-how the victim of a Eli's bite combusts in a powerful ball of fire that rises like a phoenix of flames to the top of her hospital room, how Elia and Oskar lie together as if their growing attraction is more important than the outside world and how Eli deals with Oskar's bullies in what has to be the film's most brutal scene-but filmgoers should experience this film for themselves.

Experience-that's an important word to note because LET THE RIGHT ONE IN is an experience I will not soon forget.

Directed by Tomas Alfredson and written by John Ajvide Lindquist, LET THE RIGHT ONE IN is a film that has been pegged as a horror film but in reality is a coming-of-age picture, a powerful childhood drama and a unforgettable romance all rolled into one.

LET THE RIGHT ONE IN is not really a horror film. Although some may argue that all films are manipulative, Horror movies are structured to draw fear from an audience like a hyperdermic needle taking blood from a patient's arm. Such films are the quintessence of manipulation, crude variations on the perennial themes of madness, misery and mayhem doused with buckets of blood.

Alfredson-who comes largely from a television background-directs this story with great restraint, timing his excursions into blood letting so that they will rightly stun an audience. He realizes implicitly that- unlike horror films- LET THE RIGHT ONE IN is about the souls of its characters not the progression of plot points paying off in gory spectacle.

He gleans fine performances from his leads Kare Hedebrandt as Oskar and Lina Leandersson as Eli. Hedebrandt is especially good as Oskar in a role that requires him to walk the narrow between engendering sympathy and stirring up contempt. Leandersson provides the needed mystery and subtle energy to power this part and keep an audience intrigued.

Lindquist's script grounds the story in a rather unappealing reality that forces an audience to pay attention to the main characters and their lives instead of porviding the usual sexed-up settings and character archetypes that normally appear in vampire films. Lindquist treats his characters as if they are people not go pebbles moved around on a board as part of an overall cinematic pattern of bloody encounters and incidents.

The result is a powerful film that transcends the label of vampire film to become a nuanced, thoughtful and touching drama.

I could tell this film was really something when the audience I recently saw the film with at the Hawaii International Film Festival burst into applause as the credits started rolling. Hawaii audiences are not known for enjoying well-written, literate, intelligent, sophisticated films but this was an exception.

Without a doubt, LET THE RIGHT ONE IN is a masterpiece.

For this is a film in which there is no sugar, no spice or anything nice.
 
I REALLY have to see this. I've checked the local cinemas and none seem to be playing it.
 
Not playing at any of the cinema's near me, so I'll have to wait for the DVD. I really want to see this movie.
 
I saw it. I liked it alot. The whole point of the movie is the fact that it deals with very young children. With the American remake, I'm sure they'll go with older characters and thus ruin the entire concept.
 
I saw it. I liked it alot. The whole point of the movie is the fact that it deals with very young children. With the American remake, I'm sure they'll go with older characters and thus ruin the entire concept.

Of course as Hollywood bastardizes most of their international remakes.
 
Not much difference in their national remakes.
 
Will definitely be checking this out. I'm such a sucker for vampire flicks :up:
 
This movie definitely doesn't look like the stock standard vampire movie. I am really eager to see it as it seems to be aiming for something more than a normal horror film.
 
If anyone's interested, the author of the novel that this movie is based on has also written a novel that you can say does for the zombie-genre what Let the Right One In does for the vampire-genre:

n253997.jpg


Something very peculiar is happening in Stockholm. There's a heatwave on and people cannot turn their lights out or switch their appliances off. Then the terrible news breaks. In the city morgue, the dead are waking up...What do they want? What everybody wants: to come home. "Handling the Undead" is a story about our greatest fear and about a love that defies death. Following his success with "Let the Right One In", this novel too has been a bestseller in his native Sweden.
 
Picked up the book today - so far I'm liking it. :up:

I'm really looking forward to seeing this now.
 
Okay, I just watched this. Very good movie! Beautiful too. (Meaning the cinematography, colors etc.) Ending was great.

4/5

Gotta read the book now.
 
Not to revive a dead topic but I just got around to seeing this. An amazing film, really.

To Joker, this movie isn't really a love story, its masquerading as one but the subtext of this whole thing is a lot more sinister than the what's going on the surface, especially the last few images of the film.

Oh and to anyone who read the book I heard the ending was a little different, anyone care to comment?
 
Let the Right One In, Timecrimes DVD Dates
Source:Amazon December 12, 2008


Two from Magnet Releasing, which are both circulating in theaters still, have locked DVD release dates. Let the Right One In , Tomas Alfredson's tale about a young boy who befriends a vampire, is set to street on March 10th. Meanwhile, look for Timecrimes, the time travel thriller, on disc March 31st. If you are anxiously awaiting the American premiere of Martyrs, you'll have to be patient. Amazon now has the film listed as a March 24th DVD release. That's a month later than originally expected.
 

Users who are viewing this thread

Back
Top
monitoring_string = "afb8e5d7348ab9e99f73cba908f10802"