LET THE RIGHT ONE IN is one of the greatest vampire films of all time

Since the invention of film, there have been movies about vampires. Few movies, however, have ever gotten their story right. Vampires, even in traditional literature, are creatures of feral power and insatiable hunger; they are more like mosquito's in human form than artistocratic gentlemen. Hence their appeal to audiences: they are "other", possessors of a power and freedom that we humans lack. Unfortunately, most film adaptations of the vampire myth tend to either romanticize or modernize their plight, effectively eliminating the fear of their true nature at the very heart of the story. In my mind, the 1922 German silent horror NOSFERATU comes closest to presenting a vampire as a powerful, malignant creature who has an unstoppable will to survive. That is, until now. LET THE RIGHT ONE IN is one of the greatest vampire films of all time. This brilliant film from Sweden tells the story of Oskar, a lonely twelve year old boy tormented by bullies in school. One night in the courtyard of his apartment complex, he meets his new neighbor Eli, a mysterious dark haired girl. Despite the snow and frigid air, Eli walks around without shoes and seems strangely unfazed by the cold. Their nightly meetings in the courtyard lead to a budding romance. Meanwhile, murders begin occurring in their quiet community ... I really don't want to spoil the film in any way, so I won't say any more about the story than that. Director Tomas Alfredson crafts a spectacularly restrained vision of vampiric existence, which allows for some of the more graphic and violent moments to really hit hard and effectively. Simply put, this film contains some images and character moments that are unforgettably perfect. The cinematography by HoyteHoytema Van captures stunning portraits of frozen landscapes, splattered blood, and delicate shadows with wondrous grace. The leads, both quite young, provide adequate performances. As Oskar, Kåre Hedebrant relies a bit too much on pouting lips for emotion, but the little blond moppet carries the film with his large, studious eyes. Even more impressive is Lina Leandersson as Eli. When her vampiric nature takes over, Leandersson makes us feel the hunger and violence coursing beneath the surface of her character. Some of the work between the two is tender, nuanced, and heartbreakingly unsettling. Remarkable for actors so young. The vampiric aspects of the story are riveting, slowly integrating themselves into this love story. A few of the late attacks in the film are so masterful and stunning that I found myself gasping at both their beauty and animalism. This is easily the best vampire film in many, many years, and one of the best films of any kind this year. Do not miss this.