This is the first film released under the re-vamped Hammer Studios, famous for a clutch of British horror classics in the 50’s and 60’s. It’s a remake of the one on best films of 2009’ – Let the Right One in’  (itself based on John Ajvide Lindqvist’s novel) although director Michael Reeves can justly claim that virtually no-one in the USA saw the Swedish original.
Bullied schoolboy Owen(Kodi Smit-McPhee) has no friends and little family life until he becomes involved with a young vampire Abby (Chloe Moretz), who is herself an outcast from society, moving from town to town with her ageing guardian (Richard Jenkins).
There is no doubt that this is intended as a more mainstream film compared to the Swedish version and it is a refreshing counterpoint to the current zeitgeist that portrays vampirism as cool, sexy and fun. In this snowy New Mexican town, vampires are as lonely, frightened, needy and selfish as everyone else.

It is more violent than the original with Abby being seen in her full vampire mode, a creepy sight on someone so young and her attacks are CG frenzies of brutality. Reeves also shows plenty of visual panache with a virtuoso point of view car crash and a few subtle nods to old horror classics. Let Me In also features a sensational sound mix, including a guttural moment in the opening moments that sounds like Darth Vader choking to death.

In a story dominated by Owen and Abby (adults are presented as uncaring or ineffectual), the film rises or falls on the impact of its two young leads and fortunately they produce a couple of cracking performances. Moretz has to play wise beyond her years, an adult in a child’s body and yet who yearns for simple human interaction. Smit-McPhee is able to emit both sympathy and an antipathy. He protects a vampire and covers up a policeman’s death but having been isolated by society, his connection to Abby develops naturally.

The film has toned down the guardian character. In the Swedish version there are strong hints that he is a paedophile, whereas here there is a photographic reference to him being an very old boyfriend. However in some ways this makes the relationship more subtle and creepy. The guardian is both a protector and slave, creating an accepted-in-society father-daughter dynamic. However he is a tragic figure, almost childlike in his jealousy of Abby’s new relationship and worn down by countless decades of killing. He has become a nobody and the film begins quite literally with him faceless and nameless. It is a role Owen will have to assume if he Abby are to have a ‘life’ together. Twisted Romeo and Juliet indeed.

With many of the major scenes virtually mirroring its Swedish counterpart, fans of the original could rightfully claim that first is best, but this is worthy stab at a vampire love story that’s a world away from Twilight and Vampire Diaries.