What would you do, if you just couldn't change, so set in your ways, with habits quite strange; how would you live, in a divisive world, when the city's awake, while you're hidden and furled; would you hold out your hand, to stave off the brink, would you stake all you've got, just float and not sink; when you look in the mirror and nothing is there, in the darkness of night, only pain and despair; then a saviour appears, with their own set of fears, an innocent soul, undefiled, sincere; someone to trust, a protector by day, who'll carry your secret and promise to stay; unaware of the pact that you've drawn them into, endeavours they'll end up performing for you; until the time comes, to repeat and replay, like a school game of tag, it's all child's play.

LET ME IN (2010) **** Chloe Moretz, Kodi Smit-McPhee, Richard Jenkins, Cara Buono, Elias Koteas, Dylan Minnette. Eerie and excellent Hollywood remake to the Swedish import vampire film "Let The Right One In" scores on all points particularly the smart casting of Smit-McPhee and Moretz (both stars on the rise, justly so) as (respectively) a put-upon tween whose life changes in more ways than one when his new neighbor, a pale barefoot girl, moves in his apartment complex with her dubious guardian (Jenkins in fine low-key form),resulting in a sinister yet romantic kinship. Director Matt Reeves builds up enough suspense, tension and lets the blood flow copiously with élan in this, the finest vampire film since Kathryn Bigelow's "NEAR DARK". The poignant puppy-love story and dark underpinnings of the undead and the living attempting to bond is both heart breaking and fear inducing. One of the year's best films (NOTE: Although I didn't see the original foreign film I'm sure it's a worthy adaptation).

"Cloverfield" director Matt Reeves does a very good job of remaking the superb Swedish vampire saga "Let the Right One In." Reeves adds more gore in his effort to Americanize this chilling little tale about a 12-year vampire girl who helps out a shy 12-year old boy who suffers humiliation at the hands of bullies in his New Mexican junior high school."Let Me In" qualifies as a creepy, eerie, little exercise in suspense and terror, and Reeves keeps about 90 per cent of everything that Swedish director Tomas Alfredson had in the original. The differences between the films is minimal. The nude scene in the original is conspicuously absent here because it would constitute simulated child pornography. Similarly, the scene where the cats freaked out and attacked the adult vampire is missing, too. Presumably, Reeves must have felt that such a scene might have induced hilarity rather than horror. Nevertheless, the ending to the Reeves' remake differs significantly. "Kiss Ass" actress Chloe Moretz makes a fantastic little vampire. Her performance is very modulated. Mind you, we never see her bare fangs. However, direct exposure to sunlight will singe her skin and the skin of any vampire. There are no scenes where she casts a reflection. The seldom used dictate about vampires is referred to in the title. Our protagonist has to invite the vampire girl to cross the threshold or she will start bleeding from the face under such an invitation comes forth. No, the little vampire doesn't assume different animal shapes, such as either a wolf or a bat, but she spends most of her time wandering around the snow-swept terrain in her bare feet because cold weather doesn't bother her. Her eyes turn a feral yellow when she goes into feast mode. Our bullied hero is dazzled by her, and Kodi Smit-McPhee and Moretz kindle some genuine romantic chemistry that is as sincere as it is believable. Amid all this horror lies the real horror. The protagonist dodges three heartless ruffians that take advantage of him and impugn his masculinity by calling him a little girl. "Let Me In" emerges a fantasy of revenge, and the adolescent bullies provide strong villainy.