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In , Hammer Films acquired the rights for the English adaptation and initially offered Tomas Alfredson , the director of the Swedish film, the opportunity to direct, which he declined.

Reeves was then signed to direct and write the screenplay. Reeves made several changes for the English version such as altering the setting from Stockholm to New Mexico and renaming the lead characters.

The film's producers stated that their intent was to keep the plot similar to the original, yet make it more accessible to a wider audience.

Principal photography began in early November , and concluded in January The film was placed on several critics' top ten list.

Many critics noted it as a rare Hollywood remake which stayed true to the original, while others criticized it for being too derivative of the Swedish film.

Moretz won several awards for her performance with critics praising the on-screen chemistry with her co-star, Smit-McPhee. An official comic book miniseries prequel titled Let Me In: Crossroads was released after the film which establishes the back-story of Abby and ends where the theatrical film begins.

An unnamed police detective tries to question him about a recent murder. While the detective answers a call outside the room, the disfigured man jumps out of the window, leaving behind a note that reads: "I'm sory Abby.

Two weeks earlier, Owen, an unhappy and lonely year-old boy who is neglected by his divorcing parents, sees a barefoot young girl, Abby, and an older man moving in next door.

Owen and Abby become close friends and start communicating by Morse code through the walls of their apartments. At school, a teenage bully named Kenny and two of his friends constantly terrorize Owen, who lies to his mother about it but tells Abby the truth.

Abby encourages him to retaliate, and pledges to protect him. Abby's companion, Thomas, abducts a local teenager and drains their blood into a jug, only to accidentally spill all of its contents.

Starving, Abby attacks a neighbor and drinks his blood , killing him and forcing Thomas to dispose of the body. On a later night, Thomas hides in the back of another car, but is discovered.

In the ensuing struggle, the car falls into a ditch and flips over. Trapped, Thomas pours concentrated sulfuric acid on his face, rendering his features unrecognizable and bringing the story back to the first scene.

Abby learns what happened and visits Thomas in the hospital, who lets her drink his blood before falling to his death. That night, Owen is awakened by Abby, who insists he verbally invite her in.

She spends the night in his bed and agrees to be his girlfriend. The next day, Owen's class goes ice skating on a river.

Cornered by the bullies, Owen hits Kenny with a metal pole, splitting his left ear. At the same moment, the students spot the neighbor's body encased in the ice.

Later, Owen tries to make a blood pact with Abby. Seeing blood, Abby reveals her vampire form and flees, feeding on another neighbor.

The next night, Abby admits to Owen that she is a vampire and that Thomas was not her father. Owen discovers an aged photo of her with Thomas as a young boy.

Scared, Owen wants to leave, but he is stopped by Abby, who won't answer his demands on letting him out. Owen finally leaves after asking Abby what she will do to him.

Owen sneaks out to spend the night at Abby's. In the morning, the detective forces his way into Abby's apartment and finds her asleep, only to be distracted by Owen.

Abby wakes and attacks the detective, killing him. Abby tells Owen she will have to leave town. They share a kiss and he watches tearfully as she enters a taxi and leaves.

During swim class, Kenny, Jimmy, and their friends ambush Owen and begin to drown him, only to be dismembered by Abby.

The next day, Owen leaves town on a train, traveling with a large trunk. From inside, a message in Morse code is tapped out.

Owen smiles and taps out a response. According to Hammer Films executive producer Nigel Sinclair , interest in the project initially began in the middle of , before the original Let the Right One In had screened for audiences.

It's not a reimagining; the same beats [are there], maybe the scares are a little bit more scary. I don't call it his remake or his re-imagining of it.

He has stated on numerous occasions that he is not in favor of remaking his film. And I don't think mine is," he said.

It's not like we're remaking Lawrence of Arabia. Writer John Ajvide Lindqvist, on the other hand, says that Reeves told him that he "will make a new film based on the book, and not remake the Swedish film" and so "it'll be something completely different, but it's going to be really interesting to see.

I think it could be a really touching, haunting and terrifying film. I'm really excited about what it could be", he said.

I'm so drawn to it for personal and not mercenary reasons I hope people give us a chance. I said I read the book too and was completely taken with it and I was really intrigued how personal the story felt.

I thought John Lindqvist had written this terrific story, and he also adapted it for the film I wrote Lindqvist and told him that it wasn't just that I was drawn to the story because it was a brilliant genre story—which it is—but also because of the personal aspect of it.

It really reminds me of my childhood. In adapting the film , a few adjustments were made, such as changing the names of the protagonists to Owen and Abby, [22] and moving the setting from the Stockholm suburb of Blackeberg to "a small New Mexico town.

But there are some things that hopefully don't detract and fit into the context of the story. It's a mixture of details from the book, the original film and things that grew out of adapting it.

He used Ronald Reagan 's " evil empire speech " as an example of American thought during that period.

Reeves stated, "The idea of Reagan's 'evil empire' speech and that whole sort of school of thought was that evil was something that was outside of us.

Evil was 'Other,' it was over there, it was the Soviets ". Reeves felt that this idea was central to the main character Owen, as he "would be grappling with these very, very dark feelings but being in a kind of American town where there was that sort of [Reagan era] mindset and religiousness.

How would you fit in? How would you feel about yourself being confused and being 12 or 13 years old and not knowing what it means that you wish you could kill those kids who were terrorizing you every day?

The humanity of that. Principal photography began in Albuquerque, New Mexico on November 2, Los Alamos County granted a special request from the film's director and producer to name the town in the movie "Los Alamos, New Mexico.

After viewing Bright Star , he hired Greig Fraser as his cinematographer because he admired Fraser's work with natural light on the film.

Spielberg instructed Reeves to have the two leads each keep a diary in character with the intention of sharing with Reeves what they wrote in it.

Reeves stated, "It was all a process of trying to, not only guide them, but in places, trying to let them guide me toward their perspective.

That was important. Method Studios was contracted to handle the film's visual effects work. The studio's supervisor Sean Faden , worked alongside the film's visual effects supervisor, Brad Parker throughout the production.

Several of the film's scenes proved to be a challenge for the team. Director Reeves wanted the "car-crash" sequence to appear as if it were filmed uncut in first-person.

Jenkins' stunt double and a dummy were placed in the car as the rotisserie spun with additional effects work used to animate the dummy as the car rolled.

The two shots were then combined to deceive the viewer into believing that it was one complete shot. Faden noted the techniques used in another challenging shot important to Abby's character in which she begins bleeding when she enters Owen's apartment without invitation.

Faden stated, "Normally in such a scene, the character would be shot on set, dressed in blood. But in this case, the timing of the bleeding was so dependent on the emotional beats of the scene that this technique wouldn't have allowed us enough control.

Then using techniques utilized in a prior Method Studios film, A Nightmare on Elm Street , Faden had the Houdini software track Moretz's shaking movements and render the gradual release of blood from her face.

The score was composed by Michael Giacchino. He mentioned, "I was always trying to say, 'let's take music out!

Composing the score to convey the correct emotion was also a challenge for Giacchino who said, " Or should this be sentimental? Or should it be emotional?

Or should it be this? It was a weird balance because you're dealing with a dynamic that is quite questionable as far as what everyone's intentions are in the film.

Let Me In received critical acclaim upon release. The consensus is that "similar to the original in all the right ways—but with enough changes to stand on its own— Let Me In is the rare Hollywood remake that doesn't add insult to inspiration.

Particular praise was given to the film's two leads, Smit-McPhee and Moretz, for their chemistry and maturity on-screen.

Masterpiece is an overused word, but it's hard to think of another so powerful. Let Me In is the new standard for vampire movies. Not just a horror film, but the best American horror film in the last 20 years.

Lou Lumenick of The New York Post called Let Me In "the scariest, creepiest and most elegantly filmed horror movie I've seen in years—it positively drives a stake through the competition.

It is at once artful and unpretentious, more interested in intimacy and implication than in easy scares or slick effects.

He stated, "Reeves understands what made the first film so eerie and effective, and here the same things work again. Well, color me blushing" and "Prepare to be wowed.

It's a spellbinder. Let Me In was not well received by all critics. Some disputed Reeves' claims that he was not remaking the film but re-adapting the book, criticizing it for being too similar to the Swedish film.

Josh Tyler wrote "The movie he's made is absolutely a direct remake of the film, the two are so similar that it's almost impossible to differentiate between them.

Rich noted that while there was plenty of content in the original novel that the Swedish film omitted, "Reeves hasn't really ferreted out anything new; on the contrary, there is actually less plot in Let Me In than in the Alfredson version.

According to Sukhdev Sandhu of The Telegraph , [66] " Let Me In doesn't need to exist unless, that is, the very notion of Swedish cinema is strange and unpalatable to you What's missing is the alluring otherness of Let the Right One In.

That film's brittle textures and haunted ambiance seemed in some strange way to have sprung organically from the nation in which it was set.

This remake, by contrast, smells of boardrooms and calculating machines. He said:. I might just be the luckiest writer alive.

To have not only one, but two excellent versions of my debut novel done for the screen feels unreal. Let the Right One In is a great Swedish movie.

Let Me In is a great American movie. There are notable similarities and the spirit of Tomas Alfredson is present.

But Let Me In puts the emotional pressure in different places and stands firmly on its own legs. Like the Swedish movie it made me cry, but not at the same points.

Let Me In is a dark and violent love story, a beautiful piece of cinema and a respectful rendering of my novel for which I am grateful.

In April , it was announced that Hammer Films and Dark Horse Comics were producing a four-issue comic book limited series based on the film.

Marc Andreyko wrote the comic. The first issue has Abby and her "guardian" facing a ruthless real-estate tycoon who wants to steal their home and was released in December I am looking into this matter and hope that they have no right to do this.

From Wikipedia, the free encyclopedia. Theatrical release poster. Release date. Running time. United States United Kingdom [3].

See also: List of Let Me In characters. The New York Times. Retrieved November 14, British Board of Film Classification. September 23, Retrieved December 13, Chicago Tribune.

Retrieved November 11, Box Office Mojo. Retrieved January 5, The Numbers. Nash Information Services. Retrieved March 31, Los Angeles Times.

Retrieved April 4, Archived from the original on April 13, Retrieved May 19, Bloody Disgusting. Retrieved April 6, Total Sci-Fi Online.

April 9, Archived from the original on December 1, Retrieved July 7, Now we just disagree on the best choice to move the country forward.

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