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Let the Right One In
Carl Molinder, John Nordling for EFTI
directed by Tomas Alfredson
starring Kare Hedebrant, Lina Leandersson, Per Ragnar, Henric Dahl, Karin Bergquist, Peter Carlberg, Ika Nord, Mikael Rahm, Karl-Robert Lindgren, Anders T. Peedu, Pale Olofsson, Cayetano Ruiz, Patrik Rydmark, Johan Sömnes, Mikael Erhardsson, Rasmus Luthander, Sören Källstigen, Malin Cederblad, Lena Nilsson, Berndt Östman, Kajsa Linderholm, Adam Stone, Jonas Kruse, Ingemar Raukola, Linus Hanner, Thomas Ljungman, Fredrik Ramel, Christoffer Bohlin, Julia Nilsson, Slin Almén, Bengt Bylund, Susanne Ruben
screenplay by John Ajvide Lindqvist, based on his novel, music by Johan Söderqvist, special effects by Panorama Film & Teatereffekter, digital visual effects by Chimneypot, Fido Film
It seems that a vampire is roaming a Swedish city. In a seemingly
unrelated story, 12-year-old Oskar (Kare Hedebrant) meets young Eli (Lina
Leandersson), and since in a way they are both outsiders - he's constantly
bullied at school, she seems to know nobody in the neighbourhood - they
soon become friends. Thing is, Eli's father is the vampire who's roaming
the streets, and this of course makes Eli a vampire as well - but since
she likes Oskar, she does him no harm and actually helps him against the
bullies, and often brutally so. Even when it dawns on Oskar that his
girlfriend might be a vampire (like when she starts to bleed all over her
body after entering a room uninvited - a big vampire-no-no), he's not
prepared to give up on her. It's only when the vampire hunters close in on
Eli's rather clumsy father that she has to skip town in a hurry ... but
not before taking a bunch of bullies apart (literally) who try to drown
Oskar in a swimming pool.
Vampire tale, love story and
coming-of-age drama - now there's a combination not likely to succeed. So
it's much to the film's credit that it has become a relatively decent
horror flick, nothing great but well enough handled to not be boring,
sparkled with a few macabre surprises and humourous interludes, and by and
large devoid of any obvious kitsch. But as I said, don't expect a
masterpiece of any sort.
review © by Mike Haberfelner
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