TOP 10 SHOTS from "Let Me In"

Welcome to TOP 10 SHOTS, our regular convening space in receiving visually strong films of the recent past, and I must make that emphasis on "films". As much as this column often provides distinctive shots of massive value in and of themselves, it is also a way of dissecting the films more accurately than a straightforward review. It's a measured way of conveying what I feel throughout a film without having you right here beside me watching it. That's what keeps me returning to this stream, and hopefully you as well. Just a month ago I had the positive reaction to my piece on "Atonement" that inspired them to revisit the film. If I'm doing this for any reason, it's that.

But on to this week's film, which I had to do a bit of digging to arrive at, since "Snow White and the Huntsman" director Rupert Sanders is making his debut. No disrespect, but I do not consider it a good sign when a director makes his debut with a blockbuster. So I went straight to cinematographer Greig Fraser, whose work on the film may not turn out so fantastic, as is often the case with blockbusters, but Fraser does have some rather interesting credits on him. He worked with Jan Campion on "Bright Star", which I regret to say I still must get around to, but what stuck out to me rather immediately was his work on "Let Me In".

Quick Takes: "Sherlock Holmes" & "Hugo"

It's been a downplayed week of cinema for me, with nothing of note until I finally hit the weekend. While most films are getting the full review treatment, there are some that I just don't have much to say on. And for now, I thought I'd hold off on the pre-2011 films I saw and focus on the matter at hand.

"Sherlock Holmes: A Game of Shadows"

Directed by Guy Richie

As hinted at in my box office report, I am of a conflicted nature on Guy Richie's second outing in his "Sherlock Holmes" vein. Yes, the story has expanded to a more relevant, believable, and fascinating nature, which is all the more fitting for the introduction of Holmes' nemesis Moriarty. The problem it faces is the expansion of its own technique, which was fine to begin with in the first film. The relatively low-budget aesthetic worked for what was required. The $35 million more that was spent on it makes it feel all the more like a blockbuster effort, and as such loses a degree of the soul it had. It's that separating factor that was evident in "X-Men" and "Harry Potter" earlier this year, and continues on here.

But again, there is a strong story being put to the test by Richie's group, and Moriarty is depicted as perfectly as he possibly could have been. He's not as intentionally evil as he seemed in the previous film. Jared Harris goes to the limited extremes with his performance, going just far enough to not be a cartoon villain, but not banal either. Harris thrives more than anyone else on the payroll. In fact, since he's not a comedic player, he avoids both the film's advantage and its bane, that being its wit. It's not that it's not funny, but it's thrown in at every possible avenue that it's overkill. It drags the film down with it and becomes repetitive very quickly. However, the scenes with Harris are done to perfection, and one particular action sequence of the film is amongst the more fascinating of this year.

"Hugo"

Directed by Martin Scorsese

Scorsese has always been leading the charge as far as the topic of film preservation has been concerned, so it figures that it's only a matter of time before he makes a film about it. "Hugo" is the achievement of that endeavor, but isn't an achievement of much more than that. The story seems to have been selected merely for the relevance of Georges Melies within it. Could he have picked a more in tune story? Sure, but this seems particularly suited to send the message to children generations. What does that come sewed together with? Horrendous child performances from Asa Butterfield and Chloe Moretz, and a typical story that is never really motivating. If it is, that's from simple juxtaposition with "Extremely Loud and Incredibly Close". In short, we don't feel his devotion, even if we do see it. I just felt cold and unmoved throughout the entirety of it ridiculous length. Rarely is two hours too long, but a story like this doesn't work for that long.

"Texas Killing Fields" Trailer

Another Venice premiere unveils itself ever so slightly. To be honest, though, I have no real idea as to what exactly is going on in "Texas Killing Fields". It does look like your standard procedural crime film, and it gives you ample introduction in the beginning. As we go towards the end of the trailer, I just lose sight of exactly what's happening. It becomes too obsessed with being an action film and we get lost in the fray. Seriously, who makes these trailers? My only interest in this film? Jessica Chastain and Chloe Moretz. Other than that? Not much.

"Hugo" Trailer

I know we all just got finished bashing Andrew Stanton's decision to shorten John Carter of Mars to simply John Carter, but I think that the shortening of Martin Scorcese's The Invention of Hugo CabretHugo to actually works. Yes, it is less elaborate, but I feel it's more appropriate. It's about Hugo, and less the invention. This being Martin Scorcese's first 3D film, it's bound to be high on stylistic bursts. People are lashing out at it for being mere kiddie fare, but ignoring the "30 Seconds to Mars" song, it is actually something of a tribute to the earliest style of filmmaking, such as in A Trip to the Moon. Scorcese is going all out with this, and it's bound to snag some craft nods.

14 Actors Acting

On the ninth day of December, The New York Times gave to us... (Follow the links to see the videos. Some are fantastic. Some are just good. The music is phenomenal.)

Javier Bardem's angry. He's breaking lots of china.
James Franco is awesome. Guess that's because he's sexy.
Natalie Portman's a ho, but she's really sexy.
Chloe Moretz is evil, but her lips are sexy.
Matt Damon is crazy. Too many disappointing movies.
Michael Douglass is contemplating. His hair looks so goofy.
Jennifer Lawrence is screaming. She's also out of focus.
Noomi Rapace is smoking, and she's also singing. She's gonna get lung cancer.
Vincent Cassel is dancing. He's actually pretty fantastic.
Anthony Mackie's running. There's something behind him. He should get off that treadmill.
Robert Duvall is shaving. So long creepy hermit.
Lesley Manville is phoning. Must be a telemarketer.
Tilda Swinton's crying. Not an Oscar this year.
Jesse Eisenberg has a gun! BUM. BUM. BUM.

Film Review: Let Me In

If anybody still has intentions of seeing Matt Reeves' Let Me In, a word of caution. If you're expecting something close to the original Let the Right One In, you may leave this film disappointed. If you're going in expecting a typical vampire film, you're even more mistaken. Let Me In is simply a different interpretation of the original story, and the best example of that is in the final scene at the pool. The original film took a low-key and artful approach to the scene, with one shot that remains classic. The new film delivers the true horror of the situation, even if the cinematography isn't quite as spectacular.

The film is about a 12 year old boy named Owen who is violently bullied at school. He doesn't have a lot of friends, if any, and he spends a lot of his time spying on the neighbors. Honestly, who wouldn't? So when a young girl named Abby moves in next door, he forms something of a bond with her. However, nothing is really as it seems, and her guardian leaves at odd hours of the night to kill people. As the relationship between Owen and Abby grows, the relationship between Abby and her "father" disintegrates. As the murders pile up, it becomes clear pretty quickly that there's a more violent force at play.

Let Me In is actually really close to following two parallel time-lines. The "father", played brilliantly by Richard Jenkins, is something of an omen weighing down upon the film. The way he ends up is grim to say the least. Out of fear of spoiling parts of the story, I won't go any further. Needless to say, this is still a brilliant story, no matter how it's told. Matt Reeves (Cloverfield) does a nice job directing this film, and some of the cinematography here is spectacular. As said before, the original film's greatest shot comes at the end, but the 2010 version's comes about midway through the film, and you'll know it when you see it.

The two leads actors in this film may be the best thing about it, and that's high praise for child actors. Kodi Smit-McPhee carries most of the film as Owen, and he really brings across the emotional anguish of his predicament. Chloe Moretz continues to be the best new thing in violent cinema, giving a performance that comes close to rivaling her turn as Hit Girl in Kick-Ass. Michael Giacchino has a constant presence in the film through his score, though I must achingly admit that it's not up to the same standard as some of his other films. Given another month, he could've given us something a little more spectacular, but I still have few complaints about his work, as it wasn't bad. Let Me In isn't nearly as groundbreaking as Let the Right One In, if were going to compare the two, but we shouldn't. It's an individual effort that succeeds pretty well on its own terms, and occasionally does even better.

B