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Conditioned to Accept Horror: This happens to Owen over the course of the film. Screen Scene: "Let the Right One In". Would Hurt a Child: Abby's massacre of Owen's bullies, though they're more teens than children. Kenny, on the other hand, has no problem with wounding Owen's face or threatening to kill him while a teacher is watching. Warning: some minor spoilers. Adaptation Distillation: This version distills the plot further than the Swedish version did. In his review, Roger Ebert described Oskar and Eli as "two lonely and desperate kids capable of performing dark deeds without apparent emotion.

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Adaptational Heroism: - Thomas in this version seems to have been divorced from the clear pedophile storyline of Håkan in the book and the softened version of it from the Swedish film. Let the Right One In is a novel of vampire fiction by Swedish writer and performer, John Ajvide Lindqvist. She also doesn't seem to recognize how odd her behavior is, she walks around in her bare feet in the snow despite how odd it makes her look, after Thomas dies and she goes to Owen's room for comfort she sneaks into his bed after stripping naked and doesn't understand why Owen is shocked. It's simply that Owen's so desperately lonely that he's willing to overlook those traits as long as Abby will be his friend. Greater-Scope Villain: In a deleted scene, it's revealed Abby's uncle was a vampire who turned her after apparently raping her. The sexual overtones of many vampire stories, including recent ones, in which the vampire bite serves as a stand-in or metaphor for penetration, undergo a radical shift in Let the Right One In. The middle-aged father talks to none of the local lushes and doesn't seem to work, while daughter goes around barefoot in the snow, has greasy, matted hair, is intensely asocial and never comes out during the day. Pastiche: Reeves cited E. T. the Extra-Terrestrial as a stylistic influence on the film. "A CHILLING FAIRY TALKE. Not only that, but it'd also make a fine film to show to the 10- to 16-year-old crowd. Ineffectual Sympathetic Villain: - Thomas, despite the film implying that he's been harvesting people for Abby for decades, isn't terribly good at his job. Because Let Me In says that this is a story of people who are long for an emotional connection, who are knocking on doors and windows, desperate for entry. Kenny is the main villain of the film, with Jimmy only appearing in two scenes and he attacks Owen at his brother's behest but it's shown he's much more dangerous and cruel than Kenny and the other bullies.

This is that kind of film, and yet, while the final product is indeed underwhelming, glimpses into what could have been break up a consistency in some degree of engagement value, or at least consistency in a considerable degree of artistic value. Interestingly, the stereotypes are switched around. While they enjoy hurting Owen nearly as much as Kenny does, they still have the sense to try to restrain themselves so they can get away with it. However, since he doesn't know he's in a supernatural film he comes to the conclusion that Thomas is some kind of satanic cultist. Aside from the middling, angsty Deadgirl, no movie of this era was trying to empathize with the monsters like Let the Right In. However, she has been twelve years old for a very long time. As well, the performance from Kare Hedebrant as Oskar makes for an incredibly sympathetic character. Twilight is a vampire movie that's been getting a lot of attention lately, but those aren't vampires. Despite being in the same class as 12-year-old Owen; they look like they're years older than he is.

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Although judging by how Kenny's brother very strongly held his head down under the water, it seems more that Jimmy's intention was always just to drown him and presenting Owen with a "test" was simply a way to mentally torture him before he died. She looks like pre-teen version of Joan Jett who's been living in filth and malnourishment for the past year (or is it 220 years? When he sees Owen writing a letter for Abby, he follows him into the bathroom. This isn't the story of a love that repairs a broken heart and smooths away the hard edges. This time, however, the camera follows his gaze upwards, into the heavens. SPOILER ALERT coz i gotta say it... it's the best vampire film since interview!

This is most apparent in his scenes with Abby where hes very kind and sweet to her, as seen when Abby comments she cant remember her birthday and consequently doesn't receive any presents, Owen instantly offers her his Rubik's cube, despite him barely knowing her and it being his favourite toy. This is best demonstrated when he tearfully goes to his parents for comfort after discovering Abby's a vampire and both times he's ignored. But what is especially interesting is to see how Lindqvist's trans-related themes, which run strongly throughout the novel, get differently digested (and edited) in the two subsequent films. Abby decided to ask further about whether Owen would still like her if she wasn't a girl (i. that she's a vampire, not a normal human). Nightmare Face: Played deadly straight with Abby. Notably, when he's in the principal's office he doesn't even bother telling her what Kenny was planning on doing to him, assuming that neither she nor his mother would believe him.

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Throughout the scene you can hear the sound of wings flapping, Abby was never shown to have wings when seen in vampire form so the audience can only guess what she looks like as she kills the boys. The pace of this eerie movie is slow, measured and lyrical. In one of Owen's first scenes, and one of the most disturbing in the film, he takes part in an iteration of this trope. His concept morphs into a vampire story when he has his browbeaten protagonist/loner, 12-year old Oskar, meet a girl named Eli (seemingly the same age) who just moved into the run down apartment next door with her father. Plus it should be noted in their relationship Abby is the one who kisses him while Owen seems to prefer long hugs. Like I said, this is a very quiet film, so Johan Söderqvist's score is pretty rarely played up, but when it does finally arise, it's actually quite worthy of the patience, having a breathtakingly tasteful minimalism and airiness to it whose subtle grace is both beautiful by its own right and complimentary to the tonal dynamicity of this drama. Undead Child: Abby says she is twelve years old. First love is tough enough without your girlfriend being a vampire. Director Tomas Alfredson slowly develops the plot, leaving many subtle points up to interpretation for the audience, letting their imaginations work. She encourages Oskar to stand up against the school bullies, but Oskar's violent act of revenge has consequences that will change his life.

Juggling sparse lighting that all but stuns when it livens up, this film's visual style is pretty neo-gothic, as is Söderqvist's score, so from an artistic style standpoint, this effort pretty much excels, thus making problematic substance the key culprit behind the undercutting of potential that, make no mistake, is, in fact, there. The film is directed very well, and a remake will have to copy some of the scenes to remain effective. Also, Owen has been abused by them constantly and he's already utterly terrified of Kenny, so it's only to be expected that he completely freezes when cornered by all 4 of them. The Swedish film has Eli played by the haunting amateur child actress Lina Leandersson, who has a powerful presence and pathos in this role. Parental Obliviousness: Owen's mother.

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She does not seem to have been living as for centuries as our classic vampires seems to, but rather, she is stuck in this girl's body. Rule of Symbolism: Owen's bedroom has a space theme, with posters of outer space and a space shuttle prominently displayed. She yanked me into the minivan, grabbed my backpack, and rifled through it. On one level, this exchange illustrates what 'going steady' means to 12 year-olds: it is an affirmation of friendship and loyalty quite disconnected from overt sexuality. Also, vampires have to specifically get a invitation every single time they enter a home. Abby only kisses Owen twice in the entire film and only then they were two quick pecks on his lips and cheek. Worldwide Gross: $11, 227, 336.

It doesn't do much good, as he's a small, half naked boy against 4 teenagers armed only with a small pocket knife, but it's still a much greater effort at protecting himself than Oskar ever did. All in all, he comes across as a much more gentle, innocent character than Oskar was. Owen counts as well. If you haven't seen it, I highly recommend this flick. In this version, they plainly don't care about him. In other words, they're an outcast's fantasy come true. Abby had already gotten Owen's permission to enter into his apartment earlier, when she sneaked into his room, but she had to ask again. Oskar is initially shocked by what he sees.

Throughout the film, despite it being obvious there's something odd about Abby (i. walking barefoot through the snow, the loud arguments she has with Thomas) Owen doesn't care as long as he has companionship in his life. In the 5th scene they have together Owen announces to her that he "likes her, a lot". Only for Abby to save him. The camera is focused on Owen the entire time when he's underwater and when he's recovering from being almost drowned to death. The film is actually quite different from its source material, though that decision was a mutual one between Lindqvist and director Tomas Alfredson. Earlier in the film, Kenny snaps a wet towel into Owen's eyes. Theme Naming: A lot of the titles on the soundtrack album are based on quotes from Romeo and Juliet. Secondly, Owen's suffering is much more pronounced in this version.

The Renfield: Thomas procures blood for Abby. Tears of Blood: If Abby enters a place uninvited, she bleeds from her eyes... and her nose... and her mouth... and pretty much everywhere else. My mother was right to be worried. Justified, as the film heavily implies he's been her familiar for decades since he was a child and with no contact with anyone besides someone stuck as a 12 year old, he didn't have a lot of opportunity to mature. So much of the Eli's outsider status comes not just from her addictive need to drink human blood, but because she's basically a trans girl (or perhaps a forced eunuch like David Reimer? ) Early in the film, his mother accuses him of spoiling dinner again, implying that his "Now and Later" sweets make up the majority of his diet. Here there is a scene revealing that his counterpart met Abby when he was a child. While their relationship is portrayed, for the most part, as very sweet and innocent. Most disturbingly at the end, when Owen has recovered from his near drowning Abby's bare feet, drenched in blood appear and she picks him up by his head to look at her. He certainly notices how odd her behavior is, asking why she doesn't wear shoes in the snow, remarks how odd it is she never appears in daylight nor knows very famous pop culture items like a Rubik's cube, and when he confronts Abby he immediately asks whether she's a vampire, implying he had already guessed, judging by her behavior.