Sideplots really don't do much good nowadays

I don't think this is one of those movies that will be hauled as classics in the coming years, but it's still a thoroughly entertaining and striking display of northern filmmaking at it's best. Often melancholic and almost completely silent, drowning in snowy suburban landscapes, Let The Right One In has tons of beautiful imagery to showcase along with a score that supports the film as a whole and almost elevates it to a higher level with piano that is so heartbreaking, and violins that manage to sound very un-sappy, yet touching. The problem lies somewhat within the story. It's a condesended view of the book that it is based upon, and even if you haven't read the book, you'll get the feeling that something is missing. For example the person who helps our young vampiress collect blood is in the film a mute Igor-like nutjob instead of the very deep and sophisticated, victimised individual we saw in the book. We also get a very half-built sideplot revolving around the people who reside the neighbourhood, but this is yet again very slight a story and doesn't really go anywhere as we never come to care of the characters. Had they cut this sideplot entirely, the film would be 30 minutes shorter and far tighter a package, and would still pretty much have the exact same content. This is why it is not a film worthy of a ten. It has very few things wrong with it, but this is one thing I can not excuse it for.

9/10