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Let Me In (2010)

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A bullied young boy befriends a young female vampire who lives in secrecy with her guardian.


Matt Reeves


Matt Reeves (screenplay), John Ajvide Lindqvist (screenplay "Låt den rätte komma in") | 1 more credit »
1,917 ( 46)
14 wins & 28 nominations. See more awards »





Cast overview, first billed only:
Kodi Smit-McPhee ... Owen
Chloë Grace Moretz ... Abby
Richard Jenkins ... The Father
Cara Buono ... Owen's Mother
Elias Koteas ... The Policeman
Sasha Barrese ... Virginia
Dylan Kenin ... Larry
Chris Browning ... Jack
Ritchie Coster ... Mr. Zoric
Dylan Minnette ... Kenny
Jimmy 'Jax' Pinchak ... Mark (as Jimmy Jax Pinchak)
Nicolai Dorian ... Donald
Rebekah Wiggins ... Nurse
Seth Adkins ... High School Kid
Ashton Moio ... Lanky Kid


In Los Alamos, New Mexico, the twelve year-old Owen is a lonely and outcast boy bullied in school by Kenny and two other classmates; at home, Owen dreams of avenging himself against the trio of bullies. He befriends his twelve-year-old next door neighbor, Abby, who only appears during the night in the playground of their building. Meanwhile, Abby's father is a wanted serial-killer who drains the blood of his victims to supply Abby, who is actually an ancient vampire. Abby advises Owen to fight Kenny; however, soon he discovers that she is a vampire, and he feels fear and love for the girl. Meanwhile a police officer is investigating the murder cases, believing that it is a satanic cult. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Plot Keywords:

school | vampire | night | blood | boy | See All (119) »


Innocence dies. Abby doesn't.

Motion Picture Rating (MPAA)

Rated R for strong bloody horror violence, language and a brief sexual situation | See all certifications »

Parents Guide:

View content advisory »






Release Date:

1 October 2010 (USA) See more »

Also Known As:

Fish Head See more »


Box Office


$20,000,000 (estimated)

Opening Weekend USA:

$5,147,479, 4 October 2010, Wide Release

Gross USA:

$12,134,420, 5 December 2010
See more on IMDbPro »

Company Credits

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Technical Specs


Sound Mix:

Dolby Digital



Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


The trash bag that Richard Jenkins wears over his head in the murder scenes was the actor's idea. See more »


The Now and Laters seen in this movie have had that logo since the early 1990s. The movie takes place during the early 1980s. See more »


[first lines]
Paramedic #1: One-three-one to dispatch, come in.
Radio Dispatcher: [after delay] One-three-one, this is dispatch, go ahead.
Paramedic #1: This is one-three-one. We have a male, mid 50s, with burns over nine to nine and a half percent of his body. Prior to our arrival on scene, the patient apparently doused his head, neck and face with some sort of highly concentrated acid. patient's airway is severely compromised due to fume inhalation. Vital signs unstable. Please advise, patient is a federal suspect. We're coming in with a ...
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Crazy Credits

The movie's end credits are in the form of black text on a white background, which is the opposite of most movie credits, which are usually white text on a black background. See more »


Farewell Love Scene
(from Romeo and Juliet (1968) (as "Romeo & Juliet"))
Written & Composed by Nino Rota
Conducted by Nino Rota
Published by Sony/ATV Harmony
Courtesy of Paramount Pictures
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Frequently Asked Questions

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User Reviews

Good job, not disappointed
9 October 2010 | by c99432See all my reviews

I believe that many viewers of this movie are fans of the original Swedish movie LTROI, so I won't be emphasizing on how much I am fond of the original one – and here we are for the American remake.

That being said, I just watched the remake. In general, I am not disappointed (if not a little pleasantly surprised) by this remake, though it still cannot catch up with the original one as a whole.

Honestly, I was a little worried when I went to the cinema, being afraid that the story would be degraded into a superficial Hollywoodian fest of clichés and pure visual stimulations. Thankfully, that didn't happen.

In general, this remake is in line with the original book (and the original movie). Many settings are almost identical with the Swedish one, so are quite a number of actors' lines (well of course they spoke English in this one, no Svenska LOL). More importantly, the tranquillity resembles a lot to the Swedish one. We can tell see that the filmmaker had no intention to challenge the basic tone of the story, a beautiful love tale under vampire's cover. This, on the other hand though, might disappoint some fans who watch the remake in search for a revolutionary interpretation of the old story, YMMV.

Sure, there are still many differences. The first one is the ambiance colour tone of many scenes where Owen and Abby meet. The director has obviously chosen a warmer tone (under orange-yellowish street lamp) in which our two protagonists interact, as compared to the sharp contrast of white snow vs dark sky in the original one. Personally I give credits to that change, as it better alludes to the tenderness of Owen and Abby's friendship / love.

The real gender of Abby is one of the hottest topics amongst fans. Here, instead of giving a direct shot to Abby's under (which I find totally unnecessary in LTROI), the director chose to interpret Abby's gender in a very ambiguous way, leaving much room for interpretation.

Also, I feel that the American remake is more "focused" on the two protagonists than the Swedish one. "More focused" has two senses: in one hand, filmmakers tend to let Owen and Abby physically occupy a bigger part of the screen, instead of the wide-angle lens in LTROI; in the other hand, the director cut many "peripheral" scenes (scenes where actors other than Owen and Abby interact). I am personally neutral to that change, though I believe that we need not give further emphasize to Owen and Abby for a better character depiction.

OK, now time for some negative comments. As a whole, I find the remake's interpretation of the gory scenes as a failure. They are too violent, bloody, and explicit, which, I think, largely spoils the basal tone of the movie, inserting some cheap and inconsistent horror elements in this supposedly beautiful, ambivalent movie.

Last, the music. Here I have to say LTROI's soundtrack totally outworks that of the remake. LMI's OST is, to its most, up to a "hardcore" horror film's suspense scenes, whereas LTROI's music is as beautiful, as poignant as the movie.

In conclusion, a good remake, loyal to the original story. One can tell the director's effort to re-interpret some minor details without changing the story's basal line/tune, though many of the modifications aren't as successful as they expect.

Basic story line: LTROI = LMI: 8.5 (basically the same) Settings: LTROI = 8.5, LMI = 9 (I am esp fond of the colour tone…) Scene interpretations: LTROI = 9, LMI = 6.5 (not so implicit...) Actors: Eli = 10, Abby = 9.5, Oskar = 8.5, Owen = 8.5 (those young actors are just gorgeous – both in Swedish and in American versions, Owen may not be as good looking as Oskar, but his acting is as excellent) Music: LTROI = 10, LMI = 5 (I bought the Swedish OST to fill my iPod. The American one? no thanks) Originality: LTROI = 10, LMI = 6 (afterall, LMI is a remake that has borrowed a lot from LTROI)

OVERALL: LTROI = 9, LMI = 7.5 congrats to both, good job done!

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