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".

The Weekend Report: The Wicked Flee

What? There are absolutely no new releases this weekend? Well that makes another one of these posts seem rather superfluous, but I might as well do it anyway. There were a lot of under-appreciated films released this year, mostly on account of the fact that people were stupid with their time and money and decided to see The Last Airbender, Yogi Bear, and Little Fockers. As a matter of fact, at the end of this, I'm going to give you a list of all the films you shouldn't see. There are better ways for you to use your time, and that's pretty much the inspiration for this series.

Among the early and unappreciated films of the year was Roman Polanski's The Ghost Writer. It's gotten a somewhat strong following from critics this year, but there's a broader audience that I believe would truly embrace it if they gave it a chance. Another film people were afraid to give a chance until it was released was How to Train Your Dragon. I'm not sure if there are still people out there who haven't seen it out of disgust with Dreamworks' other features, but it's definitely worth checking out. There were also a great many films that inexplicably bombed at the box-office. MacGruber was never expected to do well, but it's an extremely funny film for what it is. It's not exactly good, but it's entertaining.

Beyond The Supernatural: Best Cinematography of 2010

I always find myself worried that people no longer believe that more is more. These days, and this is applicable to all aspects of filmmaking, people seem to be sticking with the familiar, rather than trying something new or challenging. Every time I went to the movies this year, I asked myself if the cinematographer merely went with whatever worked, or searched until finding whatever shot worked best. More often than not, I was largely disappointed. However, I am pleased with how many films decided to push things. Shutter Island, Let Me in, and Black Swan had a lot of help from the striking and disturbing imagery they were told to frame, but they were breathtaking nonetheless. The cinematography that impressed me the most this year was a lot more natural, and didn't rely too much on visual symbols or supernatural elements to make its point.

3. Inception

Wally Pfister has worked with Christopher Nolan on all his films, and over the years they have definitely grown through this partnership in terms of honing their respective skills. Nolan and Pfister have peaked in quality, starting two years ago with The Dark Knight, and continuing now with Inception. It's unclear how long this peak will last, or if they could do even better. For the time being, I'm just enjoying what they're placing onscreen. For a film that's largely based in the world of dreams, Pfister keeps the cinematography firmly grounded in some sort of reality. The lensing of most scenes have an over-lit yellow or slight gray tint to them, and the dream world is lit much lighter than the real world, giving an eerie sense of seduction to extended dream sequence. It's ultimately effective, and occasionally iconic, from the perfect first shot of the relentless ocean, to the foreboding and mysterious final shot of the film.

2. Harry Potter and the Deathly Hallows: Part 1

If this series hasn't always been a critical or emotional darling, the aspect that has always prevailed in the Potter saga is the production department. I wouldn't be surprised if the latest installment got several nods in technical categories this year, most especially for the lensing of the film. David Yates has had a habit of choosing more skilled and textured cinematographers than the first four films, and Eduardo Serra definitely brings something unique to the table. A lot of what makes the cinematography of this latest film work is the landscapes that the trio (or duo) are staying at. It's a nice way of keeping track of where the characters are emotionally. From the unfamiliar woods, to the barren and desolate mountains, every location has some sort of link to what the characters are feeling at that moment, and Eduardo keeps the camera perfectly focused throughout. There's a balance between the safe distances and the odd shakes in the camera, and it's clear that so much work went into making each frame emotionally impactful.

1. True Grit

I was truly worried that my top pick in this category wouldn't make it into the cinematography category at all, and then True Grit came around the corner and changed everything. I thought that Roger Deakins' Oscar hype for his work here was a bit overblown until I saw it. I was captivated by the meticulous first shot, starting with a strange yellowish fade in, and then focusing into this wonderful portrait of a man lying dead as the snow fell upon him. This attention to detail and quality composition never once wavered for the rest of the film. There wasn't a moment in this film in which I felt that they could've chosen a better shot. The black outline of Tom Cheney riding away and escaping remains a powerful one, and even more powerful is the final shot that leads into the end credits. It's not truly symbolic of anything, but it's simply beautiful to look at. Roger Deakins deserves to win the Oscar for cinematography this year, because he has no equal in this race. This year, he is the best.

Auditory Expansion: Best Musical Scores of 2010

Sorry for the confusion, but I still have to see True Grit and Black Swan before posting the cinematography list, so this will do until then. 2010 wasn't quite as successful as it should have been in terms of films, but it undeniably was a fantastic year for music. This was confirmed from the beginning with Howard Shore's dark score for Edge of Darkness. The film failed on several counts, but the music wasn't one of them. John Powell, whose scores have been consistently exciting and entertaining, churned out him best work to date attached to How to Train Your Dragon. Danny Elfman had a bad year, first with the complete failure of The Wolfman, but I liked his score for the ill-formed Alice in Wonderland.

James Newton Howard had even worse luck, working on rather pedestrian scores for Salt, Love and Other Drugs, and The Tourist. The best work he made this year was, regrettably, his score for The Last Airbender, which sucks because the score was so fantastic, but the film so abysmal. If the film turned out to be good, James Newton Howard would be nominated for an Oscar this year. A few secretive gems include Nigel Godrich's score for Scott Pilgrim vs. the World, and Daft Punk's electrifying work on TRON: Legacy. True Grit and Black Swan got sadly sidelined from the Oscar race for Original Score the other day, but they're more than worthy of note. Biggest failure in this category this year was John Debney whose massive failures with Iron Man 2 and Predators just brought those films down. The most successful composer was surely Alexandre Desplat, but more about him later on.

3. Let Me In by Michael Giacchino

There are very few horror films that have an effective emotional core attached to them, which is probably the main reason that Michael Giacchino was brought in to work on this score. There's also his previous experience of working with director Matt Reeves, but when news broke out that he was doing the score, it was a lot easier to put my faith in this film. I'll agree that it took some time for the score to synchronize with film, but I blame that a bit on the editing. The score itself is hauntingly beautiful, with tracks like Sins of the Father and Polling for Owen building intrigue and suspense. It's sometimes joyful and happy with tracks like A New Day On an Old Lake. Then we plunge right back into the spine-tingling horror roots, and the best example of that is the best track of the score, Dread on Arrival. End Credits beautifully caps off everything with a tragic melody that hints at the truth of the rest of Owen's life. The score is a powerful extension of the film, and that's what the definition of any effective score should be.

2. Toy Story 3 by Randy Newman

I haven't the slightest clue why Randy Newman's work on the latest and last installment in the Toy Story saga is being so minimalized by people when it comes to the Original Score category. The man has always put together wonderful and heartfelt tunes, and I know the songs are what he's best known for. However, he really pushed the envelope this time around, and brought as much closure and excitement as a soundtrack can give you. The opening number of Cowboy brings you into the fold with an extraordinary sense of wonder. Then it brings you a little further down to earth before grounding you. It builds up as the film goes on, gets really exciting when To The Dump hits, and then climaxes with the breathtaking and tear-jerking The Claw. It ends on a beautifully soft note with So Long, and it eases you into the inevitably end of this franchise. It's sweet, emotional, and weaves in some core themes from past installments. A worthy closing.

1. Inception by Hans Zimmer

Definitely the most expansive and revolutionary soundtrack of the year came in the form of Hans Zimmer's score for Inception. Rather than go the easy route and create something that merely fit the film, Zimmer decided to do something new, which caused a bit of worry when the word "electronic" was used to describe his work. Fret not, because using the advanced medium does not detract from Zimmer's natural talent to register excitement and emotion. The first track that leaked out was a portion of The Dream Is Collapsing, which soon became the main theme for the film. It's not an easy theme to start humming, and it exists on so many different levels and layers, just like the dream world of the film. That sort of theme continues, and it's hard to find a legitimate climax of this soundtrack, because it sustains the excitement through. It's a success on every level, from the amazing action tracks like Mombasa, to the deep and emotional chord that Time creates. Every scene in the film is amplified by the work, and the experience becomes something else entirely than what it was before.

2010 Gotham Awards Nominees Announced

The awards season has begun, whether any of us is ready or not. It's a lot more taxing and time consuming for me than it is for you. The Gotham Awards has announced their nominations, and it almost easy to forget that this was a spectacular year for independent films. There are certainly a few films I haven't heard of, mostly in the Documentary category. For the most part though, I'm surprised to find myself engaged by these nominations. I'm happy that Let Me In was given representation, small though it is. However, The Kids Are All Right and Winter's Bone are the true spotlight for these nominations.

As for my predictions on who will come out on top, I'm putting The Kids Are All Right on top for both Best Feature and Best Ensemble Performance. Until the fall season, that was my favorite film of the year. If only because it's the only one I've heard of, I'm putting Inside Job on top for Best Documentary. Breakthrough Director is a complete wild card, for who can say who will win. Finally, though Greta Gerwig's turn in Greenberg was my favorite thing about the film, Breakthrough Actress is going to go to Jennifer Lawrence in Winter's Bone. It may reignite Oscar potential for her once again. Take a look at the nominees, and make your own predictions in the comment section.

Best Feature
Black Swan
Blue Valentine
The Kids Are All Right
Let Me In
Winter’s Bone

Best Documentary
12th & Delaware
Inside Job
The Oath
Public Speaking
Sweetgrass

Best Ensemble Performance
The Kids Are All Right
Life During Wartime
Please Give
Tiny Furniture
Winter’s Bone

Breakthrough Director
John Wells, (The Company Men)
Kevin Asch, (Holy Rollers)
Glenn Ficarra and John Requa, (I Love You Phillip Morris)
Tanya Hamilton, (Night Catches Us)
Lena Dunham, (Tiny Furniture)

Breakthrough Actor
Prince Adu (Prince of Broadway)
Ronald Bronstein, (Daddy Longlegs)
Greta Gerwig, (Greenberg)
Jennifer Lawrence, (Winter’s Bone)
John Ortiz, (Jack Goes Boating)

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

Box-Office Update: Accepted and Ignored

Last weekend truly was the last that we'd see Inception as a presence in the top ten, giving something of a fresher atmosphere for the autumn season. The Social Network matched it's critical acclaim by coming first in the box office this weekend. Sony has had a good month, both with David Fincher's new film, as well as the Emma Stone comedy, Easy A, which fell a mere 32% from last weekend. The biggest disappointment of the weekend, for me at least, was Let Me In coming in eighth, just behind the far more mediocre Case 39. I'm not going to let other audience's reactions influence my outlook on Let Me In, but I will take the low opening weekend gross as an indication that the film won't stay in theaters for long, so expect a review next weekend.

10. Alpha and Omega (Third Weekend; $3 million)
9. Devil (Third Weekend; $3.7 million)
8. Let Me In (First Weekend; $5.3 million)
7. Case 39 (First Weekend; $5.4 million)
6. You Again (Second Weekend; $5.5 million)
5. Easy A (Third Weekend; $7 million)
4. The Town (Third Weekend; $10 million)
3. Wall Street: Money Never Sleeps (Second Weekend; $10.1 million)
2. Legend of the Guardians: The Owls of Ga'Hoole (Second Weekend; $10.9 million)
1. The Social Network (First Weekend; $23 million)

For Your Acknowledgement: Can People Be Evil?

You may have heard very recently that I will be unable to post a review of Matt Reeves' new horror film, Let Me In, because it won't be playing anywhere near me. Believe me, if I find some way to go somewhere that is showing it this weekend, I will get a review to you as soon as humanly possible. As it is, that's not happening, and it's getting really depressing. Either way, I felt that you guys deserved something, so here's one more clip from the film. If I can't give you a personal recommendation, this film should be all the encouragement you need if you're wondering if it's worth it.

No "Let Me In" Review This Weekend

I am getting very easily irritated by the theaters here, because they make me doing my job infinitely more difficult than it should be. It wasn't such a huge loss when I wasn't able to go see The American. That actually turned out for the better. However, I've been looking forward to seeing Let Me In for some time now, and it looks like I'll have to wait at least another week to see it. Reviews for the film have been stunning, and I truly apologize that mine won't arrive for a while now. Does it makes any sense that instead of picking up Let Me In, the local theater is deciding to show Alpha and Omega?

3 To See In October

It's always difficult to decide which films you want to see out of this month, mostly because the films that inhabit it are either half-assed attempts at Oscar drama or even more assed attempts in the horror genre. Luckily, next weekend offers us the two top films of the month right up front. That leaves the rest of the batch to fight over the number 3 spot. I'm immediately not going to go with many of the horror films out this month, because I don't really see anything interesting in Saw 3D, Paranormal Activity 2, or My Soul To Take. Discarding the misguided attempts at awards season success (Conviction, Hereafter), we are left with very few candidates.

3. Secretariat

I'm almost in a death match with this film, because of what people are hyping it up to be. Suddenly with last year's nomination of The Blind Side, people keep searching for some inspirational family film to fill that tenth spot this year. The Best Picture category should be filled with only the best films of the year, and I know this isn't going to cut it. All the same, it looks like the sort of inspirational film like The Blind Side that could bring audiences in to see it. On a depressing weekend, I'd consider seeing this film. I don't think it's going to be the greatest horse race film ever made, but it looks nice enough.

2. Let Me In

We don't have to wait long for the two films I'm most looking forward to this month. The American remake of the Swedish horror-classic Let The Right One In has been debated much over the past few months. I chalk that up to Matt Reeves being hired to direct, which many were hesitant to at first. I must admit that "from the director of Cloverfield" doesn't sound like it bodes well for us. However, it seems that this film offers Reeves the perfect catalyst to break out as one of the greatest new directors currently at work. At any rate, I'd rather see this story in a language I can actually comprehend. How dare a film urge me to read by putting subtitles in it? If I wanted to read, I'd just go home and... read.

1. The Social Network

Definitely the top film of the month, and perhaps my most anticipated film of the fall season, it seems like a match made in heaven to team David Fincher up with Aaron Sorkin. So far, all the reviews for this film are not only good, but near perfect across the board. When normal critics start bringing up complex themes, such as man's place in the universe or something else confusing like that, regarding the Facebook film, you know you're in for something you haven't seen before. Add in the best young actors in the new wave of modern cinema, right along with one-of-a-kind cinematography, and you have one of the top contenders in this year's Oscar season.

Toronto Days. Toronto Nights: Let Me In

At this point, I am tired of continuously hearing about this film from reviews, posters, trailers, and clips, and I just want to see it already. Two or three months ago, we really felt like this film was the worst thing in the world. Now, everybody is raving about it being just as good, and possibly better than the original. It's an unbelievable outcome, and I doubt there will be a soul out there who isn't surprised by this film's success. However, I don't think there will be anybody who is disappointing with it either.

Michael Rechtshaffen (Hollywood Reporter) "While he faithfully recreates a number of sequences and shifts the positions of others, Reeves also incorporates some new stuff that, for the most part, heightens rather than diminishes the original's understated intensity. Sure, we probably could have lived without the glowing vampire eyes, and the religious overtones come on a tad strong, but the tweaks are otherwise skillfully employed, favoring unique camera p.o.v. over CGI excess. That's particularly true of a terrifying car crash sequence that takes place entirely from inside the out-of-control vehicle. Echoing the prevailing horrific/mournful vibe is Michael Giacchino's masterful score, which is simultaneously bone-chilling and achingly poignant."

Worst Previews: "The remake of Let the Right One In is much better than the original as far as violence, quality, acting, music and camera work. Unfortunately, it is almost a shot-for-shot remake that adds very little. Yes, it's one of the best horror films around and I would recommend it to anyone and everyone. But beware, if you have seen the original, this one will bore you. If you haven't, run to the theaters and make sure to watch Let Me In first. It is far more superior."

Well, we seem to have conflicting opinions going around about this movie. While people are saying it's fantastic and better than the Swedish film, they're also saying that it's a little too similar for people who've seen the original. I'm still eagerly looking forward to Let Me In, and I want to know what you think of all this.

"Let Me In" Poster

Yet another gorgeous poster for Let Me In has made its way to viewing eyes. It does have some obvious similarities with one of the previous posters, it offers a much more captivating tagline than any of the other promotional material for this project.

For Your Acknowledgement: I Need Giacchino, To Live!

I know that I've already offered enough of a taste of Let Me In to sell you that it's more than just another American remake. Still, this clip is in some ways more important than the last, as it not only features one of the quieter moments this film is likely to live off of, but also has our first taste of the score by Michael Giacchino. So far, I'm absolutely in love with the melodies that Giacchino has put to use here, and I can't wait to hear his score for the film in its entirety.

For Your Acknowledgement: Burning For You

A little more than a month ago, Let Me In, Matt Reeves' adaptation of Let The Right One In, featured some great footage at Comic Con. Understandably, people got very excited about it, and there was the possibility of an American remake being of equal quality to the original. Now, a piece of one of those clips has found its way online, and though it doesn't reveal much, it's certain engaging and visually striking. Check it out below. Let me know what you think of it, but I think this may be a pretty great film.

MPAA Ratings: Hereafter, Let Me In, Love and Other Drugs

We're getting close to awards season, and it's worth noting that a film's MPAA rating does have a certain impact on a film's Oscar potential. For the past five years, the Best Picture winner has been an R-rated film, and six of the nominees last year had that same rating. As a rule, if it's not Pixar, the chances of a G or PG film being nominated are slim, and most PG-13 films just aren't as daring as R-rated films. The Academy awards films that go that extra mile, and a rating usually indicates if they will or won't. So on to our ratings this week.

Clint Eastwood's Hereafter was rated PG-13 for mature thematic elements including disturbing disaster and accident images, and for brief strong language. Not R-rated, but no team-up between Clint Eastwood and Peter Morgan needs to be in order to be spectacular. Another Year was rated PG-13 for some language, but that film has already gotten stellar reviews from Cannes, so no worries there. Love and Other Drugs was rated R for strong sexual content, nudity, pervasive language, and some drug material. It's the only rating this week that I really wasn't expecting, because the trailer doesn't hint at much. This kind of bodes well for Edward Zwick's comedy. And finally, Let Me In was rated R for strong bloody horror violence, language and a brief sexual situation, but no surprise there.

Comic Con 2010: Wrap Up!

Alright, let me just wrap up with my thoughts on Comic Con. I was rather disappointed by how little low quality video captured on people's video cameras made its way online. I was hoping to see more, but was disappointed. That's my general feeling from this Comic Con. There wasn't enough material thrown around this year. Nobody real took full use of Hall H as they could have. There weren't many events that had a huge amount of buzz around them. I'm sad I wasn't there this year, but I feel like it wouldn't have be as exciting as I'd have hoped for.

We got some big events from TRON Legacy, Jon Favreau's Cowboys and Aliens (A photo from which can be found at the top of this article), Harry Potter and the Deathly Hallows, and Matt Reeves' Let Me In, but there wasn't so much to talk about. Nobody premiered 20 minutes of footage to an eager crowd like James Cameron did last year for Avatar. The film sucked, but at least he took the time to give fans more of what they wanted. It'd have been nice to see the short bits of footage from Thor, Green Lantern, and Captain America, but I'm not as huge a comic book geek as the rest of my family, and I'm really growing tired of the Marvel franchise.

So what can we expect from Comic Con next year? For one thing, you can expect me to be there. It's a long trip across the entire country, and I literally mean the entire country. I live in New Hampshire, so San Diego will be a bit of a long haul, but hopefully I'll be able to make it. As for events, most of the summer will be long gone by the time Comic Con comes around. So what's there to hype about? Will they show an advance screening of Spy Kids 4? I sincerely hope not. There's a chance we'll get a lot more Cowboys and Aliens footage, seeing as the film comes out two weeks later, but there are a few films that come out that fall and the following year that might generate buzz.

Happy Feet 2, Martin Scorcese's Hugo Cabret, Mission Impossible 4, Sherlock Holmes 2, David Fincher's Girl with the Dragon Tattoo, and Stephen Spielberg's The Adventures of Tintin: Secret of the Unicorn will all be dawning in November and December of next year. Not to mention, The Twilight Saga: Breaking Dawn: Part 1. I'll give you a few minutes to puke, and then you can finish reading. Also be ready for whatever footage from The Avengers Joss Whedon is sure to unveil at Comic Con, because you know he will. Also look for footage from the summer 2012 pics Battleship, Men and Black 3, the Spiderman reboot, and whatever Christopher Nolan feels good with sharing about his next project, whatever it is (The Dark Knight sequel?). Well for now, I leave you with one more poster. It's the third Let Me In poster from Comic Con, and it instantly overshadows the other two.

Comic Con 2010: Internet Buzzing About "Let Me In"!

So in case you haven't heard, two horrific events happened in Hall H at Comic Con yesterday. The second was that two adult men got into a fight over a seat, and one of them stabbed the other in the eye with a pen. The victim was carried out of the room on a stretcher, while the attacker wearing a blood-drenched Harry Potter shirt (how much money would you pay to have that?) was walked out by police. Such a horrific event as that should've overshadowed the craze following the Let Me In presentation, but it didn't.

The presentation consisted of a new trailer, two clips, and the cast and crew answering questions. People are right now hailing this as one of the best things to come out of Comic Con, and it may be. I've had my reservations on the film, being one of the people who hasn't seen the original Let the Right One In, but is willing to endlessly attest for its quality nonetheless. However, after seeing the new trailer that just found its way online, I don't think I have much reason to worry. You can check it out at the link below, and I've also left a link for Kris Tapley's piece about the panel at In Contention, so you can find out about the clips played there.

"COMIC-CON: Let Me In isn’t just the rally cry of Hall H lines" at In Contention

Movie Trailers - Movies Blog

Comic Con 2010: "Let Me In" Poster Debuts

From horror to horror, the second poster for Let Me In, the adaptation of the book Let the Right One In, has debuted at Comic Con. I'm liking this poster a hell of a lot more than the first one, as the first one was just words in the snow. If that's supposed to impact me in any way, then the marketing department isn't doing their job right. I wouldn't be surprised if a domestic trailer for the film came within the next day or so, but this poster could keep me content for a while. The look of this poster, the fact that Chloe Moretz is in the lead, and the idea that Michael Giacchino will be scoring the film have me contented for now.