Dear Hollywood,
I have just learned that you are turning 2008’s Let the Right One In into 2010’s more economically titled Let Me In.
Let me be the first—and possibly only–one to say I love this idea! Let the Right One In relies on consistently patient camera work and visual emotion, not exposition and spoken filler. There are very few contemporary American films that have achieved this, and most of them are hacks! Who wants to see a movie that provokes thought? I went through nearly a bottle of Ritalin trying to stay focused during the last Coen Brothers, Jason Reitman, and Paul Thomas Anderson films.
I’m no pretentious bastard, so I dig the fact that Let Me In has been left in the hands of Matt Reeves. Who else could have made the excruciatingly hilarious The Pallbearer and helmed the hand-cam-styled genius that is Cloverfield. Cloverfield was so entertaining on a large screen—especially when the Beth asks, “What is that?” and Hud responds, “Something terrible!” And then Beth asks again, and Hud responds, “Something else terrible!” Dialogue like this ensures the movie is spelled out crystal clear. There’s nothing worse than intrigue and subtlty to ruin a movie. Clearly, Reeves will fashion the reciprocal of Let the Right One In.
Secondly, it’s a good move to remake a movie that was released a year ago. This way the original can be exploited as a marketing tool and then poached. Likewise, it’s refreshing to see a film translated so that it is more palatable and adequately compliments my 72 ounce soda and barrel of 30-W synthetic oleo. I go to movies to see, not to read.
Finally, I’m unsure why so many critics have slammed this idea. Most remakes I have seen are impeccable and have either lived up to or surpassed the original releases. Top of my head: Ocean’s Eleven, Cape Fear, and A Fistful of Dollars. But, let’s not forget about Three Men and a Baby, The Day the Earth Stood Still, The Texas Chainsaw Massacre, Rob Zombie’s Halloween and Gus Van Sant’s Psycho. The masturbation scene really sold the movie for me, and it was much better than that film about the janitor who loved apples. The original definitely would have been more compelling if it had Vince Vaughn’s penis and Anne Heche’s beaver. What was Hitchcock thinking?
Kudos! Can’t wait for the remake of The Godfather with Shia LaBeauf, Casablanca with less Nazis (they are so six decades ago!) and Citzen Kane, this time with an earlier explanation of Rosebud.
Best,
J Callowell
