Cloverfield director Matt Reeves has been charged with filling Alfredson's considerable boots, and he does a fine job of not steering too far from the original, while also putting his own stamp on the vampire tale.

Exploring the world of good and evil is a common theme in cinema, but few have been able to create such a fine line between the two as cleverly done in Let Me In.

Let Me In doesn't need to exist unless, that is, the very notion of Swedish cinema is strange and unpalatable to you.

Fully succeeds at what it seemingly wanted to be: a less good version of a fantastic horror movie, but American.