Let the Right One In – Review


John Ajvide Lindqvist’s original novel is one of my favourite novels, and I feel that having read it (sadly not in its original text) would have ended up dampening my own memories of Tomas Alfredson’s film adaptation, but watching it again as I find has also helped me with my own appreciation of the work. Beyond being what I had simply remembered it for being as romance between a bullied boy and a vampire, there’s yet another tale about the discovery of sexuality hidden underneath the surface through a clever allegory. Though not quite as explicit as the novel’s detailing, just looking at how well does this film adaptation function on its own creates a tangible universe in which Lindqvist had initially created for the screens already makes it worth talking about, for not only is this one of the best vampire films in recent memory (not like there really is much competition anyways) but also one of the most unique horror films of the past decade.

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2017: A Year in Review

Another year is complete, but not without having talked about the wonderful experiences we’ve had at the cinemas. Together with the not-so-wonderful films. But alas, this has been an extraordinary year for films for the highlights still managed to stick their landing inside of our minds – and the inevitable “what about such and such?” will come but I will remind you that it would have been outright impossible for me to have been able to catch virtually every movie that had come out the previous year to make sure I wouldn’t forget other highlights that may not have made it.
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The Snowman – Review


I’m still baffled how a product like The Snowman ended up becoming as ravaged as it is despite the amount of esteem that its crew seems to have, whether it be the fact that Martin Scorsese was an executive producer who was signed on to direct, to have Tomas Alfredson take over. I would only have expected that from the fact Tomas Alfredson had directed the excellent Tinker Tailor Soldier Spy he would only have transitioned rather smoothly when directing another mystery film of a smaller scope with The Snowman, but clearly something had gone wrong. If I were to get something out of the way, The Snowman as it is does not work, but it isn’t wholly bad – rather just a film whose potential is evident but never expressed properly. So how exactly do you pinpoint where everything went wrong with The Snowman?

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