Frostbitten (2006)

If I didn't know any better I'd think this was a product of the UK, for it displays that brand of British humor wrapped into a conventional vampire plot. But, lo, it's a Swedish export that proves they can do more than the no-nonsense, steadily paced, artistic Let the Right One In. When it comes to Swedish cinema, most are familiar with the bleak, fractured oeuvre of Ingmar Bergman; and coupled with the aforementioned 2009 hit (remade in the US as Let Me In), it's easy to view Swedish movies as inherently ominous and gloomy. Frostbitten is a fun, entertaining vampire flick devoid of dull moments, with well-paced and well-placed comedic value.

Stake Land (2010)

A blend of many genres: apocalyptic, religious, survival, action, and of course vampire. I wasn't exactly thrilled to watch another vampire movie, but this one stands out. Great acting. Vicious effects and action sequences. Strong emotion. A likable hero. And Danielle Harris.

Let Me In (2010)

Rating: A

Seeing as how I picked the original Swedish film, Låt den rätte komma in, as the #1 DVD Release for 2009, I had vehemently sided with the group who truculently cried foul about an American remake...a year after the original...for seemingly no other reason than the "language barrier." So, yeah, I began the film with my arms folded, stubborn, bordering on disgusted. I might have muttered once or twice about how pointless the effort was. But, man, was this an excellent movie, let alone the absolute best remake I've ever seen, bar none.

And to think: Let Me In is helmed by Matt Reeves, director of Cloverfield, which I truly did not care for. Could be, I was at the end of my tolerance for overly shaky hand-held cam movies, but Cloverfield just didn't do it for me. Enough about that, though; I'm a Matt Reeves fan now. Just like that! Two new favorite directors within one week: first Adam Green and now Matt Reeves. This is some of the best cinematography I've seen in American horror. Terrific angles, superb lighting. Reeves captures and maintains the snow-laden bleakness and the 1980s setting of the novel (surely by now it's well known that this is a remake of a movie that was an adaptation of a novel), despite moving the locale from Sweden to Los Alamos, New Mexico. The only visual design I wish had been omitted was Abby's (i.e. Eli's) ocular effects and her erratic X-Menesque movements, both of which took a bathetic dip toward cheesy.

Aside from being beautifully shot, Reeves did a great job with the tone of the film. Somehow (and this is something I was worried about) the film tends more toward a darker, more horror genre film without losing the slow-burn coming-of-age character drama. The two genres are well balanced. There are moments, especially during the procurement of lifeblood, that are brilliantly chilling. And the tension between Owen and the bullies at school is so perfectly depicted, that, by the end, I felt terrified for Owen, the tension was palpable in a way I actually did not feel with the original. Furthermore, the film renders the sadness of Abby's harrowing existential situation and Owen's disheartening filial dilemmas. It's been a while since I've seen a horror movie that can both chill my skin and and genuinely tug at my emotions.

This is absolutely worth checking out. A big thank-you to Carl over at I Like Horror Movies for talking me into watching Let Me In with his recent review. Even if you're an Original Film Puritan, get a copy and give it a chance. This is a remake done right!

Jennifer's Body (2009)

Even my already low-low-low expectations weren't achieved. It's just what you would expect: another addition to the cluttered swamp of pop culture-injected big production waste. Zero story (a throwaway conventional vampire tale), tons of studio polishing, awful humor. I couldn't find anything to like about it. Why did I watch it in the first place? Because it was there.

BOOK: Bite

I can't believe I'm saying this, but I did not enjoy Bite. For the first time, twenty-two Laymon books later, I didn't find the experience satisfying. It could be that I followed the wholly satisfying experience of Stephen King's new epic with this one. Perhaps it's because I'm getting a little tired of constant extensive dialogue (the very reason I may be the only person who didn't enjoy Inglourious Basterds). In any case, Bite doesn't offer anything enjoyable, in my opinion. There are no surprises--a Richard Laymon trademark. The characters are weak, the plot remains loose, and the action is monotonous and boring. It's a shame, too, because every Laymon book I've read has been a literary journey unlike any other.

If you're thinking of trying Richard Laymon, steer clear of this pointless offering. As a fellow blogger once said about Takashi Miike, "With such a large body of work, there are bound to be misfires." Instead, I recommend any of the following: The Cellar, Island, Night in the Lonesome October, or The Woods Are Dark.

Thirst (2009)

A cash-in on the Twilight bandwagon, Thirst offers little storyline amusement. But, once again, the film showcases Park's talent as a director. If you want to see more of Park's signature direction and cinematography, it's here. If you want a break from the overused vampire genre, steer clear.

Let the Right One In (2008)

Having read the book by John Ajvide Lindqvist two weeks ago, I waited with bated breath for Netflix to ship this movie. Not only was the book one of the best I've read, everywhere I turned this movie was getting rave reviews.
Entertainment sections of newspapers swore by it, coworkers rhapsodized about it, and the blogosphere was set ablaze by the Swedish film Låt den rätte komma in. Even the widely trusted RottenTomatoes.com granted the movie a 97% freshness rating.

Now, I'm not going to spend too much time talking about the book since I read it prior to my blog and since this is supposed to be a review of the movie, but I feel it's necessary in order to show how high my expectations were set prior to watching the film.

The book, as I said, was one of the best I have ever read. It is simply the product of good, solid storytelling from a skilled writer. Lindqvist seamlessly wraps readers in a bleak, morose setting and tone. Next, he drops in vivid characters and causes us to ache for them. Finally, on top of the aforementioned, he delivers a chilling--yet unconventional--vampire tale. I was glued to this book, letting everything else in my life fall to the shadows for the duration.

Two things worked against the movie's effect on me. For one, as you've read thus far, my expectations were set outrageously high. Usually, this is the worst thing that can happen when it comes to any sort of subjective matter: movies, books, music, et cetera. Someone you know sees/watches/listens to it and they turn to you, singing its praises. You rush off and experience it for yourself, giddy out of your socks with excitement, only to find something mundane, banal. This my friends is why I fervently try to avoid trailers and any form of review before checking things out for myself.

The second thing that worked against me was reading the book first. I am one of those people who will read the book before seeing the movie because, yes, it is almost always exceedingly better. Take Stephen King for instance. His writing is some of the deepest, though-provoking, creative writing on the market. But the movies based on his books do the writing little if no justice whatsoever. This is simply because a two-hour film cannot possibly capture all the elements good authors explore in their books. In most cases, I will not even watch a movie based on a book I thoroughly enjoyed.

So, at roughly 8PM I locked the doors, shuttered the windows, and killed the lights. The living room was awash in the TV's pale blue light. I seized the remote from the coffee table, aimed it at the player, and fired. It was time. The moment I had been both anxiously awaiting and slightly dreading was upon me.

The film began to play...

...and then it was over.

What took place in between was possession. Despite my unreasonably high expectations, this film pulled me into its trance from the opening credits to the ending credits. I think the fact that the author of the book was also the screenwriter for the movie helped a lot, but this was well shot and well directed to boot. The film captured the setting and mood of the book in a way I've never seen before. Come to think of it, I've never seen a movie from Sweden before. Maybe they are superior at creating a mood. Snowy, cold, dark and raw, the audience becomes a guest of Blackeberg, a suburb of Stockholm.

Instead of jumping straight into thrill after thrill, Let The Right One In follows the book like an instruction manual and produces real characters we care about and pull for. This is important when trying to move people. Give us someone we care about, someone we ache for when they're in the foreground. Oskar, the 12-year old who is bullied at school, and Eli, the who-really-knows-how-old vampire are a perfect match in the film. Together they dazzle the audience. Had Eli not needed to prey on other characters in the movie for her sustenance, I'm convinced the two could've carried the movie by themselves.

A major theme in the book/film was loneliness and the movie gives this to us from many different angles. Oskar is not only ostracized at school, but his parents are divorced and he longs for attention from his dad. Only, when he visits his dad, alcohol gets in the way of their time together. Eli, meanwhile, longs for a friend, for acceptance in such a strange life. The film is very dramatic in bringing these situations to life, but don't fret, there's plenty of bloodshed, including some graphic facial damage that puts Two-Face from The Dark Knight to shame!

Eli, played by Lina Leandersson is the most haunting vampire I have ever seen. Her enormous eyes, pale skin, and constantly bloody mouth (from recent feedings, to be sure) will chill your spine. The contrast between her love for Oskar and her need to kill are unnerving. To see a little girl clamping down on people while they flail about is ghastly to say the least.

If you need a breath of fresh air from all the other movies out there you need to Let the Right One In.