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ぼくのエリ　200歳の少女(2008)/Let the Right One in(北米版)( リージョンコード1) [DVD][Import]

Kåre Hedebrant (出演), Kare Hedebrant (出演), Tomas Alfredson (監督) 形式: DVD
4.5 5つ星のうち4.5 1,620個の評価
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ジャンル Horror/Things That Go Bump/Monsters
フォーマット DVD-Video
コントリビュータ Karin Bergquist, Mikael Erhardsson, Karl-Robert Lindgren, John Nordling, Kåre Hedebrant, Ika Nord, Peter Carlberg, Patrik Rydmark, Soren Kallstigen, Tomas Alfredson, Malin Cederbladh, Anders T. Peedu, Anders T Peedu, Pale Olofsson, Bernt Ostman, Johan Somnes, Carl Molinder, Mikael Rahm, Lina Leandersson, Rasmus Luthander, Kare Hedebrant, Cayetano Ruiz, Per Ragnar, Henrik Dahl 表示を増やす
言語 英語, スウェーデン語
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商品の説明

Amazonより

The enduring popularity of the vampire myth rests, in part, on sexual magnetism. In Let the Right One In, Tomas Alfredson's carefully controlled, yet sympathetic take on John Ajvide Lindqvist's Swedish bestseller-turned-screenplay, the protagonists are pre-teens, unlike the fully-formed night crawlers of HBO’s True Blood or Catherine Hardwicke’s Twilight (both also based on popular novels). Instead, 12-year-old Oskar (future heartbreaker Kåre Hedebrant) and Eli (Lina Leandersson) enter into a deadly form of puppy love. The product of divorce, Oskar lives with his harried mother, while his new neighbor resides with a mystery man named Håkan (Per Ragnar), who takes care of her unique dietary needs. From the wintery moment in 1982 that the lonely, towheaded boy spots the strange, dark-haired girl skulking around their outer-Stockholm tenement, he senses a kindred spirit. They bond, innocently enough, over a Rubik's Cube, but little does Oskar realize that Eli has been 12 for a very long time. Meanwhile, at school, bullies torment the pale and morbid student mercilessly. Through his friendship with Eli, Oskar doesn't just learn how to defend himself, but to become a sort of predator himself, begging the question as to whether Eli really exists or whether she represents a manifestation of his pent-up anger and resentment. Naturally, the international success of Lindqvist's fifth feature, like Norway's chilling Insomnia before it, has inspired an American remake, which is sure to boast superior special effects, but can't possibly capture the delicate balance he strikes here between the tender and the terrible. --Kathleen C. Fennessy

登録情報

  • アスペクト比 ‏ : ‎ 2.35:1
  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 言語 ‏ : ‎ 英語, スウェーデン語
  • 製品サイズ ‏ : ‎ 1.78 x 19.05 x 13.72 cm; 20 g
  • EAN ‏ : ‎ 0876964001731
  • 商品モデル番号 ‏ : ‎ MFR876964001731#VG
  • 監督 ‏ : ‎ Tomas Alfredson
  • メディア形式 ‏ : ‎ DVD-Video
  • 発売日 ‏ : ‎ 2009/3/10
  • 出演 ‏ : ‎ Kåre Hedebrant, Kare Hedebrant, Lina Leandersson, Per Ragnar, Henrik Dahl
  • 吹き替え: ‏ : ‎ 英語
  • 字幕: ‏ : ‎ 英語, スペイン語
  • 言語 ‏ : ‎ 無条件
  • 販売元 ‏ : ‎ Magnolia Home Ent
  • 生産者 ‏ : ‎ John Nordling, Carl Molinder
  • ASIN ‏ : ‎ B001MYIXAC
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    4.5 5つ星のうち4.5 1,620個の評価

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鈴木博雄
5つ星のうち5.0 世に隠れて続いていく恐怖と悲しさ
2023年2月23日に日本でレビュー済み
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以前より、気になっていましたがこの度購入。

２回観ました。
静かな、恐怖が伝わって来ます。

１度目、わかりませんでしたが、２回目にあることに気付きました。

それは、観てのお楽しみ。😄
2人のお客様がこれが役に立ったと考えています
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どどんぱ　ひろ
5つ星のうち5.0 この邦題と商品説明を書いたひとは作品を殺してしまった
2022年7月24日に日本でレビュー済み
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少年と少女のラブストーリー。それは静かだが狂おしいものだ。
その秘密を視聴者は物語で知ることになる。
美しくも残酷な運命として。
だがこの邦題はその感動を無にしてしまっている。
たぶん数ある作品の一つとしてやっつけ仕事をしたのだろう。作品を殺してしまうほどの所業だ。
作品名を変更してほしいのが、これから視聴する人への心からの祈りである。
14人のお客様がこれが役に立ったと考えています
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Anazom 力ス夕マー
5つ星のうち4.0 PS4にて再生。モザイク無し
2021年7月8日に日本でレビュー済み
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日本版ではモザイクが有ったろうシーンですが、映倫はこれにモザイクをかけて何を守ろうとしたのだろうか？
　< 利権だろうなーｗ

観るというより浸る感じでの鑑賞。
勧善懲悪な物語を好む層には合わないと思います。
在るものを受け入れる層にはハマるかも。
7人のお客様がこれが役に立ったと考えています
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hidekayo21
5つ星のうち5.0 モールスより
2021年12月7日に日本でレビュー済み
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モールスよりこちらのほうが良かったので購入しました。
4人のお客様がこれが役に立ったと考えています
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二度寝のモモンガ
5つ星のうち5.0 こういう作品のためにBlu-rayを購入する意味がある
2021年3月18日に日本でレビュー済み
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映画館で見たときの感動とせつなさを思い出しました。手元に置いておけば、好きなときに見られるのって、いいですね。
こういう作品があると、また映画館に行きたくなります。
日本語の吹き替えも違和感がなくて、より物語にはいりこめました。
ハリウッド版も映画館に行きましたが、私にはこのスウェーデン版のほうがずっと好みです。主役の二人の瑞々しい演技。アップの美しさ。グッときます。
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Kindleユーザー
5つ星のうち5.0 映画で描かれなかった事
2013年9月12日に日本でレビュー済み
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「ぼくのエリ」「モールス(リメイク版)」を観た後、原作を読んでの感想です。
ネタバレを含みますので、ご注意下さい。

決して万人受けする映画ではありませんが、ツボにハマった人には強烈に支持される作品だと思います。私もその一人。

内容の素晴らしさについては多くの方々が述べているので省略して、ここでは原作を読まないと分かりにくい部分について語ってみます。

まずは主人公のオスカーですが、映画に出てくる美少年とは違い、デブで万引きの常習犯。「子豚ちゃん」とイジメられるには、そう言う理由があるのです。
しかし原作には伏線があって、オスカーが後半でエリと見つめ合うシーンでエリの瞳に映った自分自身を見るのですが、そこにはハンサムで素敵な少年の顔が映っていたのです。つまり、エリにはオスカーがそう見えていたのですね。

そしてエリですが、原作ではもっと弱々しく人間的な印象を受けます。

エリ、本名エライアス少年はおよそ220年前に吸血鬼とおぼしき領主のお城に呼ばれて生け贄にされ、去勢されたあげく何度も咬まれます。大好きだった美しい母親も、この時に失います。それ以来、エリは12歳(日本で言えば小学6年生)のままずっとひとりぼっちで生きて来たワケです。エリがオスカーに「バスルームで寝ているから起こさないで」と書いたメモ書きは、実は原作ではもっと長くて、孤独の恐怖とオスカーに怪物扱いされる事への不安が記されています。
また、どうしても渇きを我慢出来ず、オスカーの不良友達から血を買うシーンがあるのですが、その後で「感染しなかったか？」とずっと心配し続けたりもします。

リメイク版では、ハリウッド的に分かりやすく少年と少女のラブストーリー。
オリジナル版では例のぼかしの真相を知っていれば少し倒錯した淡い恋心…と言うイメージになるでしょうが、原作では更に純化させて、性別を超えて孤独な者同士が互いを補完し合おうとする関係に昇華させています。そのため、オスカーとエリの間には軽いキス程度はあるにせよ、いわゆる性の目覚め的な関係はありません。
エリがヴァンパイアと知ってオスカーはショックを受けますが、男の子だと知っても動揺しないのです。(私ならそっちのほうがショックですが…笑)

さて、中年男のホーカンですが、公園のベンチでエリと出会ったのは比較的最近で、元小学校教師でしたが児童ポルノを買っていた事がバレて自宅まで放火された過去があります。
血を手に入れるための殺人には激しい抵抗がありますが、ペドフィリア(小児性愛者)で、美しいエリの身体を触りたい一心で犯行を重ねます。だからモタモタしていたわけです。
やがて渇きが限界に達し始めたエリに「身体を触るだけだったらいい。」とついに約束させ、血を取るためスポーツジムで凶行に及びますが、段取りが悪すぎて失敗。身元がバレて捜査の手がエリに及ばないよう、顔を酸で潰します。
映画ではエリが罵倒し、ホーカンが従うシーンが出て来ますが、原作では二人はいわば共棲関係であり主従関係の要素は薄くなっています。

次々に協力者を魅惑して恋に落ち、役に立たなくなったら次の協力者に乗り換える。と考えがちですが、そんなに単純じゃなかった…。ホーカンは未来のオスカーではなかったのです。

エリの「友だちは一人もいなかった。」「プレゼントなんてもらった事なかった。」と言う言葉が、強烈な孤独を表しています。
オスカーには別れたけれど両親もいるし、原作にはちゃんと友だちも出てきます。(父親はゲイではなく、アル中です。)
ところが、エリは全くのひとりぼっち…。
原作ではエリはオスカーと出逢ってから退化し、本来の無邪気な子どもの行動に戻ってゆく様子が語られます。

余談ですが、原作ではゾンビ化したホーカンがエリを襲い、太陽光の下で命からがら逃げまどうハリウッド映画のような場面も登場します。

原作を読むとエリが獲物を狩る残虐性よりむしろ、現代社会にある闇の部分、小児買春やいじめ、ドラッグ、離婚、当時の北欧東欧諸国の閉塞感のほうがよほど恐ろしく描かれています。
原作者が1968年生まれなので、作者の当時の体験がベースになっているのでしょう。

映画「ぼくのエリ」は、耐性のない人にはちょっとグロいホラーでしょうが、原作で描かれる社会の醜悪な部分を思い切って削ぎ落として、叙情的なラブストーリーにまとめ上げた点で素晴らしい作品になりました。

この映画に感動された方は、ぜひリメイク版と原作を経験される事をオススメします。
177人のお客様がこれが役に立ったと考えています
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アマゾンカスタマー
5つ星のうち3.0 北米仕様の商品についてのレビューです
2020年8月18日に日本でレビュー済み
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国内用のブルーレイ再生装置で普通に再生できます。
字幕は英語字幕とスペイン語字幕が選択できますが、私の再生環境ではなぜか字幕設定を行っても本編映像では字幕は表示されませんでした。特典映像では字幕が表示されます。
スエーデン語に特に堪能な方以外は、字幕が表示されないことを考慮に入れて購入なさることをお勧めします。
国内仕様の商品にある映倫の指示による「ぼかし」は、当然ながらありません。
10人のお客様がこれが役に立ったと考えています
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亜音宇璃頭無
5つ星のうち4.0 映倫にLet the Right One in と言いたい
2010年11月26日に日本でレビュー済み
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メーカーに問い合わせましたが、映倫の意向なので、修正有です。
ただし劇場版のボカシではなく、丁寧なデジタル修正が入ってるそうです。

ＵＳ版のブルーレイを購入してましたが
日本公開に漕ぎ着けたメーカーさんに敬意＆大画面で観たかったので劇場にも行きました。

バンパイアの悲しみも、既に定番でクラッシックの域に入ってますが
この作品の素晴らしい所は少年期の疎外感、不安感、恋愛をバンパイアに絡め、
繊細で美しい表現がされています。
他にも、ヨーロピアンな街並みや、ＢＧＭもとても素晴らしいです。

メニューを見る限り、多分ＵＳ版と同じ内容の特典だと思います。
おまけは控え目ですが、未公開シーンの手を繋ぐシーンと
舞台裏の人力アナログ特撮はなかなか面白いです。
ＣＧと思っていた場面が、結構めんどくさい撮影をしています（笑）

日本語吹き替えも聞いてみたいので買う気ですが、出来ればブルーレイが良かったです。

ぶっちゃけモザイクが入っても素晴らしさを損なう事は無いものの
真っ白いシャツに一滴染みがある様にも感じます。
モザイクを入れる場面でも無いですし、
２００年前のエリの境遇を察す場面で、主人公を助ける動機にもなります。

倫理とは社会通念上の規範ですから、
映倫も何時までも裏ビデオの保護ばかり考えてないで、グローバルな視点で審査すべきですね。
日本人として恥ずかしい限りです。
307人のお客様がこれが役に立ったと考えています
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他の国からのトップレビュー

すべてのレビューを日本語に翻訳
Ariane
5つ星のうち5.0 Great find
2023年10月3日にカナダでレビュー済み
Amazonで購入
Great find, I have been looking for this movie for a long time!
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OLIVIER BAUD
5つ星のうち5.0 100% ok
2024年1月12日にフランスでレビュー済み
Amazonで購入
100% ok
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Broughpark
5つ星のうち5.0 Five Stars
2017年2月6日に英国でレビュー済み
Amazonで購入
Great film...ignore the Hollywood remake and stick with the original.
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Ehkzu
5つ星のうち5.0 No-spoilers review plus comparison with "Let Me In" plus a discussion with spoilers
2009年8月13日にアメリカ合衆国でレビュー済み
Amazonで購入
Reviewers like to tell you whether a movie is good or not, and whether they liked it or not.

But you want to know whether you'd like it...or not. Why should you care what I think, unless you know our tastes are the same? And you certainly don't want all the surprises in the film ruined for you.

So I'll try to help you decide whether to see this or not, without spoiling anything.

"Let the Right One In" is, above all, a serious movie. The concept, the plotting, the cinematography, the casting...everything serves a serious purpose--something like a meditation on what it means to have to take others' lives to keep your own...and what it means to know someone in this position. Of course none of us are, or know, vampires, but at the deepest level we have all taken advantage of others to help ourselves in some way at some time. Except my spouse, who's a saint, of course, just in case she reads this!

There's also the moral complexity that comes with the fact that many people who do great wrong to others often have a tender side. The family man who's a serial killer, the concentration camp commander who's a great father to his own children, the poet/dictator. Others are just monsters 24x7, but most have some redeeming traits. And such people are far more interesting than the Leatherfaces of the world. Even Saddam Hussein wrote poetry and doted on this children.

There is enough violence in "Let the Right One In" to justify an R rating, but none is gratuitous, and much is off-screen, in the manner of a good Hitchcock suspense movie, rather than some gorefest. The blood you see is there for good reasons, not just to shock you or titillate you.

It was done on a low budget by Hollywood standards. The sparse special effects are good enough to advance the plot but they aren't going to wow you by themselves. The actors are not Hollywood-beautiful, though I think the casting is perfect.

The main characters are children--more or less--but it's not a film for children (unless they're unusually deep children, if you know what I mean).

It's also not a film for those whose moviegoing expectations are entirely based on big-budget Hollywood movies.
I'm not criticizing such movies--I've seen many & loved many--but this ain't that.

In particular, many moviegoers want everything explained. This film doesn't do that. It explains nothing, actually. Not because the director wanted to keep you in the dark...but because a lot in life goes unexplained. Someone cuts you off on the freeway, nearly killing you, then vanishes into the night. You never know why he did that, and you'll never learn why. There were reasons, but you're not privy to them.

That's what this film delivers. Mostly you see things through the perspective of a 12 year old boy, and rarely know more than he knows. And the children in the film don't deliver long speeches explaining what they're up to, why they're the way they are, yada yada.

One reviewer hated this film because nothing is explained. He couldn't accept the fact that not all kids are highly self-aware extroverted, eloquent chatterboxes. "Where did you go?" "Out." "What did you do?" "Nothin'."

These kids are average kids in non-average circumstances. So are the adults and other kids around them.

You might also be disappointed if you're looking for a hero to a admire and a villain to boo. This film has neither.

I loved the TV series "Buffy the Vampire Slayer" and "Angel." Those have heroes, and their stories are the stories of the hero's journey. Their central characters are physically beautiful, their dialog is witty and knowledgable and often poetic. And the production values (after Buffy's first two seasons, which were shot in grainy 16mm) are great for late '90s TV. However, "Let the Right one in" is really, really different from these shows, and I'm sure it's equally different from Twilight.

Actually, it's a gritty, realistic vampire film, oxymoronic as that may sound. The closest equivalent to it that I can recall is the underrated Jude Law film "The wisdom of crocodiles." Or, more distantly, the Japanese TV anime show "Vampire Princess Miyu."

Finally, a word about the casting. The 12 year old boy is the whitest white boy I've ever seen this side of an albino. He perfectly embodies the quirky loner he portrays. The girl is also perfect, and while she's not Hollywood-pretty by any stretch, she has huge, hypnotic eyes--almost like the kids in those wretched Keane paintings you see at tourist art galleries, next to the clowns and seascapes. I couldn't think of any child actor today or earlier who could play this crucial part better. She's as well suited to this part as Peta Wilson was to playing La Femme Nikita in the eponymous TV series.

The working-class Swedes around them look the part perfectly as well.

The film isn't set in any beautiful urban setting, like you'd find in downtown Oslo or Gothenburg. It's set in a sea of utilitarian apartment blocks in a nondescript town, with the action taking place entirely in a Swedish winter. It's the beauty of bleak.

I loved this film myself, but I don't want you to get it or watch it unless what I've said here suits you. If you do buy it, please manage the expectations of those you see it with. The pace is generally slow by Hollywood terms--necessary to generate the needed atmospherics. However, the story is linear, and ultimately not obscure at all except for not explaining how the people you see got there in the first place. So it's not hard to follow at least.

It has now been several days since I saw this with my brother, who had the same feelings about it as I did. The film has stuck with me. You know how some films you see then forget the instant the screen goes dark? This isn't one of those. It's haunting. I didn't actually figure out the true nature of the two central characters' relationship until the next day, after the film had percolated through my brain for a while. I won't say what that is, since I promised no spoilers. But it will send chills up your spine.

And here's one moment to look for. You know how vampires can't enter your home unless you invite them in? (hence the title of this movie BTW) Watch what happens in this movie when that rule is tested. You'll remember this scene for the rest of your life, and I'm not talking about gore.

UPDATE December 21, 2011

This small-scale masterpiece has stuck with me in the two years since I first saw it. And now there's an American version of the novel as well, titled "Let Me In." I'm glad it has a different title, because I believe both films will be around for a long time, and they shouldn't be confused with each other.

Seeing "Hugo" last weekend reminded me of the American version, since both have Chloe Grace Moretz in them. Being a sociologist by training, I'm fascinated by both the critical and consumer responses to the two movies. More people have seen "Let Me In," as you'd expect, but "Let the Right One In" continues to have stout defenders.

In fact we now have Team Abby, Team Eli, and Team Can't We All Be Friends? I'm in the third one. I own both movies, I love both movies, and I think each is better than the other in certain things. Yet I've seen people write that one version or the other appalls them, or even disgusts them. Some have accused the director of one of the films of being a criminal for certain details in the film. And I'm appalled at so much ranting going on about two fine films that aren't in competition with each other.

After all, most serious filmgoers have seen more than one version of a bunch of Shakespeare's plays. I know I have.

Oh, and many go on and on about one film or the other being truer to the book. Why does that matter in the slightest? It presumes that the book is perfect, and that, moreover, screen adaptations can't bring anything to the party--their only job is to provide animated illustrations for the book. I find this absurd.

For example, "West Side Story" radically reconfigures "Romeo and Juliet." So does Zeferelli's (it's less obvious, but it does). Does that automatically invalidate each movie in favor of some BBC bare stage production delivers the exact text of the original? Of course not. And the novel "2001" is dry and obvious, while Kubrick's movie is majestic and inexplicit--and a great work of art, while the book is just a crutch for those who want everything spelled out for them in plodding prose.

The Rottentomatoes website aggregates critics' reviews of films, as well as reader responses. "Let the Right One In" garnered a 98% critical ranking, while "Let Me In" got a still very respectable 89%. Thinking about how "Let the Right One In" has stuck with me over these two years, I'm changing my own rating of the film from four to five stars.

The only place I fault "Let the Right One In" is, in fact, a place where it's truer to the book than the American version is. I can't discuss it without spoilers, so stop now if you haven't seen both movies (unless you've read the novel)

-- SPOILERS PAST THIS POINT -- SPOILERS PAST THIS POINT --

In the book Eli is a castrated boy originally named Elias. I haven't read the book myself, but I know this is true. "Let the Right One In" sticks to this, with a brief crotch shot of Eli (about as sexy as someone stepping on your foot) that makes the point. People on Team Eli claim that this is required to explain Eli's lack of interest in sex, and in Eli telling Oskar "I'm not a girl."

Fine, that's the novel. But if it were really going to be true for the movie, they'd have had to cast an adrogynous boy--not Lina Leandersson. She may not look like a young Ingrid Bergman, as Ms. Moretz does in "Let Me In," but she is distinctly female--in her looks, in her voice, in her motions. Prepubescent boys and girls resemble each other far more than pubescent ones do, but they still look different. Very few are exactly androgynous, and Ms. Leandersson ain't one of them--and it's an insult to her to claim that she looks like a boy. And no, it's not the girl's hairdo.

So neither movie is really true to the novel.

And in "Let Me In," when Chloe Moretz's character tells Owen "I'm not a girl," there's even less question as to her gender--even though she's a very strong girl who usually does her own stunts in every movie she's in. But then Owen asks her what she is, then, and she hesitates, then says "I'm nothing."

That's a profound moment in the movie, and I just wish the Swedish version had played it that way. Of course Abby isn't a girl. She's a vampire. And that means she is, indeed "nothing."

As for Abby/Eli's disinterest in sex...hello, they're 12. It doesn't matter how long they've been 12, their human biology is and will remain on the other side of puberty as long as they, um, un-live. Most 12 year old girls--even when they aren't vampires--are not interested in sex.

Honestly, when I watch "Let the Right One In" I view Eli as a girl because she's played by a girl. You want her a boy? Have a boy play the part. There are certainly androgynous boy actors out there. But don't tell me the Swedish version is true to the book and the American version isn't. Neither is true to the book in this regard, and personally I prefer it this way--it makes for a better film IMHO, and I put it to you that both directors think the sam as I do, given their casting choices.

Some reviews say Eli being a boy means Eli's relationship with Hakan is chaste. To which I say not on Hakan's part. He isn't 12. Whether they're having sex or not his desire is there, just as Owen's/Oskar's is. And it is whether or not Eli is a boy or a girl, for that matter. Eli/Abby needs a mortal human blood donor (so to speak)/protector who loves her. In our species that includes a lust component along with other things. If it didn't our species wouldn't be here. In this regard Eli's gender makes no difference--though it probably affects her choice of blood donor/day guardian.

It also means she can't turn her protector into a vampire. No day guard then, and no hold over him either. And it needs to be a male, because human males are generally stronger, and they need to be stronger in order to hunt for the vampire--who doesn't want to hunt, which again shows how deromanticized this film's vampire mythology is. And I think it needs to be a male who isn't an enthusiastic serial killer, because such people are rarely sufficiently devoted to the well-being of a 12 year old child, vampire or not. It needs to be someone somewhat normal, but alienated--like Oskar/Owen.

Note also that Eli's residual humanity shows in her (I think of her as a her) sparing that one kid in the pool scene. I wish the American version had done that. I also thought the climbing up the side of the hospital was visualized better in "Let the right one in," and what happens when Eli enters without permission, and in general I prefer the lighter touch "Let the Right One In" has with violence and CGI. I also prefer the fact that the woman Eli inadvertently turns chooses death when she realizes what she's becoming, while in the American version she just dies like an animal. That was another place where the American version should have imitated the Swedish one and didn't.

People argue back & forth about the way the American version cuts out subplots to focus on the protagonists. I'm fine with both choices, personally. Ditto the casting--two perfect pairs in my book. Moretz is going to take Scarlett Johansson's place when she comes of age--someone with true high voltage star power, sharp intelligence, rollicking sense of humor and wonder, a level head, and with action movie skills that means she'll probably wind up doing a blockbuster, then an art film, then a blockbuster, as so many intelligent actors do. I also hope to see Lina Leandersson in more films--you can't forget those haunted and haunting eyes, and the sureness she brings to a very challenging role for a 12 year old actor.

Lastly, some reviewers took the crotch shot and the implicit sexuality of the vampire-protector relationship (and, astonishingly, Oskar's frequent toplessness) as signs that the movie is borderline kiddie porn. I find this both appalling and immoral. "Thou shalt not bear false witness against thy neighbor." Publicly accusing someone of a heinous crime is itself a vicious crime unless you can prove it.

Back in 2004, several people in Mali were murdered by villagers because someone like these "reviewers" had spread the rumor that those people were vampires. In this century! And to call that utterly unsexual crotch shot pornographic is idiotic as well as libelous. But some people think about perversions all the time, and see it around every corner, behind every neighbor's eyes. It's a form of paranoia. That's how dozens of people were convicted of involvement in satanic chil abuse rings run out of daycare centers in the 1980. Many of those people were in prison for decades. But eventually every single one of them was found innocent and released. This is not to deny the problem. The turmoil surrounding so many Catholic priests in so many countries shows that sometimes there is fire where there's smoke, to be sure. But sometimes the beam is in the accuser's eye entirely, and that's the case here.

Bottom line: "Let the Right One In" is a great movie. I'd use it to teach classes in film school--especially to show that you don't need a gigantic special effects budget even when you're making a fantasy film, which this is really, despite its realism apart from the vampire part. I'd also use it to teach a class in situational ethics as well.

So if you haven't bought the DVD yet, please do so. And then get the American version too.
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David Aaron Campbell
5つ星のうち5.0 what to say
2019年4月13日にカナダでレビュー済み
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this is one of if not the greatest vampire movies I have ever seen. I still have a soft spot for Bela and Lee as well as many others of decades gone by but this one was just a hidden gem worth owning for sure, even my girlfriend loved it and she is not much of a horror fan in general, but she thought this was fantastic. do yourself a favor and pick it up. it's not super gory or anything, but the parts that are gory are well done and it really is more about the story. don't bother with the American re-make let me in, go for this one.
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