Matt Reeves' magnificent Let Me In is an Americanized adaptation of Let the Right One In a Swedish horror film which itself is based on an acclaimed novel by John Ajvide Lindqvist (also Swedish). As such its setting has been moved from frigid Scandinavia to the more familiar but no less frigid Los Alamos New Mexico a town depicted as so bleak and uninviting as to provoke a lawsuit from the state’s tourism commission. Its atmosphere is particularly inhospitable to timid loners like 12-year-old Owen (Kodi Smit-McPhee) a spindly late-bloomer who suffers regular humiliations at school courtesy of a trio of pubescent sadists.
Owen’s home life isn’t much better: Dad’s gone for good pending a divorce from mom who’s an aspiring wino and something of a religious nut. He seeks refuge nightly in the solitary confines of his apartment complex courtyard where he meets and befriends Abby (Chloe Moretz) a new neighbor and apparent kindred spirit whose quirks include a penchant for walking barefoot through the snow. That along with her professed inability to recall her exact age provides Owen with the first clues that his new friend may not be entirely normal.
She is in fact a vampire. And like any vampire Abby requires blood for sustenance. But since the sight of a little girl chomping on the necks of locals is certain to raise eyebrows at Child Protective Services she entrusts the duty of procuring nourishment to her haggard elder companion (Richard Jenkins). First believed to be Abby’s father but later revealed as otherwise he (his name is never stated) trots out wearily on occasion to find a fresh young body to drain of its blood. His skills appear to be slipping in his old age (like Owen he is a mere mortal) and his sloppiness soon attracts the attention of a grizzled local cop (Elias Koteas) who has no idea how far in over his head he is. (The film is set in 1983 when the vampire-detection tools available to law enforcement officials were woefully inadequate.)
Meanwhile Abby and Owen’s relationship blossoms and notwithstanding the inevitable complications that arise in every human-vampire relationship they develop a profound and sweetly innocent bond. Still lurking in the back of our minds is the knowledge that Abby at her core is a remorseless bloodsucker and one significantly older than her pre-teen visage would have us believe. Is her affection for Owen sincere or is she merely grooming him to assume the role of her caretaker once her current one exceeds his usefulness?
There’s a great deal of manipulation at work in Let Me In both on the part of Abby and director Reeves who alternates between tugging on our heart-strings and butchering them. Abby is one of the truly great horror villains — so great in fact that I suspect many audience members won’t view her as one even as her list of mutilated victims grows. Reeves does well to preserve an element of ambiguity resisting the urge to proffer a Usual Suspects-esque denouement inviting us instead to connect the story’s dots ourselves. The film’s unique and affecting juxtaposition of tenderness and savagery combined with a slew of stellar performances makes for an experience unlike any other in recent horror-movie memory one whose effects will linger long after the closing credits have rolled.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
Nate Johnson (Cedric the Entertainer) an insurance agent thinks it would be a great idea to take his estranged wife and three children to his family reunion in Missouri by car from California. Nate's motives are sincere enough: He is separated from his wife Dorothy (Vanessa Williams) who has custody of teenagers Nikki (Solange Knowles) DJ (Bow Wow) and Destiny (Gabby Soleil) and hopes the road trip will help them bond as a family and with any luck re-ignite that loving feeling with the mother of his children. But everything that can go wrong does even before the trip begins. Nate brings his SUV into the shop to have an 8-track tape player installed in order to listen to his old Motown classics but what he gets is something straight out of MTV's Pimp My Ride although not even West Coast Customs would do something this gaudy. Off they go in their Burberry-outfitted low-rider Lincoln Navigator complete with four TVs and 26-inch Spinners. Vehicle with up-to-the-minute gadgetry notwithstanding the Johnsons encounter every clichéd road trip disaster including running out of gas and needing a pay phone. It's hard to figure out what's more trite--the journey to Missouri or what happens when they actually get there.
Cedric the Entertainer's trademark observational comedy which made him stand out as a cast member of The Steve Harvey Show simply isn't enough to carry an entire film. Cedric is truly the only funny thing Johnson Family Vacation has going for it and he has a few gags that are simply hilarious including a scene in which he bans CDs from artists who have been shot like Tupac Shakur and Notorious B.I.G. from being played in the car. Imagine his dismay when his wife points out that also includes Marvin Gaye "who was shot by his daddy--twice." But the comedian's arsenal of jokes--no matter how witty--do not a story make. Speaking of wasted talent the casting of stunning Williams as Nate's wife Dorothy is quite baffling. While Cedric the Entertainer could be married to someone this hot poor Nate probably couldn't. Nonetheless the quick-witted Williams holds her own next to one of the Original Kings of Comedy. Seventeen-year-old Bow Wow has worked hard to prove that he's not just a flash in the pan--and it's worked for the most part. He proved with Like Mike that he can act but the role of DJ here gets buried in this lousy film.
Christopher Erskin who makes his directorial debut here delivers a mess of a movie despite having squeezed out everything he could from his stars. Visually the sets resemble skits on a TV variety show rather than professional feature film sets the worst being the sequences where the family is in the SUV--almost half the entire film. To wit: you see them driving with the same scenery in the background--it's like in the The Flintstones when Fred would drive past the same palm tree next to the same rock house again and again. You can't help but picture the actors sitting in the Lincoln Navigator prop car in front of a large blue screen windows rolled down with a wind machine pointed at them. Matching the abysmal visuals are writers Todd R and Earl Richey Jones' ill-paced script. The film drags as the Johnson family encounters unoriginal setbacks and the end is not even a payoff; it's punishment. See the film doesn't end when family finally reaches Missouri: Moviegoers must the sit through the actual reunion and the Johnson family's Brady Bunch-style musical performance costumes and all. The only moment of brief relief is Steve Harvey's guest appearance as Nate's brother. But wait! It doesn't even end then--we have to follow the family back home to California.