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ON FAITH & MEDIA View Comments

Let Me In

By
John Mulderig
Source: Catholic News Service

Given its serious treatment of themes such as isolation and the psychological roots of violence, writer-director Matt Reeves' macabre yet strangely moving twist on vampire lore, "Let Me In" (Overture), is not a work to be easily dismissed.

But this screen version of Swedish novelist John Ajvide Lindqvist's best-seller "Let The Right One In" — preceded by a 2008 Swedish film adaptation of the same title—becomes, at times, far too gruesome to justify endorsement for viewers of any age.

That's a shame because the intent here is clearly far from exploitative. Instead this production—the first in three decades from the long-dormant British studio Hammer Films—sets out to tell a tale of heartfelt, though unlikely, puppy love between two preteens desperately in need of human connection.

The first of these we encounter is 12-year-old Owen (Kodi Smit-McPhee). Bullied and lonely, Owen is also coping with the emotional damage wrought by his parents' acrimonious separation and impending divorce and with his sense of alienation from his gritty, unwelcoming surroundings in 1983 Los Alamos, N.M.

So when he meets new neighbor and apparently kindred soul Abby (Chloe Grace Moretz), Owen rapidly develops a friendly crush. But his hopes for breaking the spell of his solitude are more than a little impaired by his gradual discovery that Abby is not exactly your average girl-next-door and that the mysterious guardian Owen takes to be her father (Richard Jenkins) is connected to a spate of recent murders.

As it reveals the dark identity lurking behind its young heroine's appealing facade, the script explores the parallels between her metaphysical plight and Owen's down-to-earth and all-too-common difficulties.

But in juxtaposing the two sides of Abby's strange persona, and in uncovering the nature of her relationship with Jenkins' unnamed character, the oblique approach to disturbing events that bolsters the opening scenes gives way to a level of splatter typical of far less imaginative offerings in the genre.

The script's philosophical approach to the use of violence is initially more in keeping with Christian morality. Thus, although Abby advises Owen to strike back against his pummeling schoolboy persecutors, the consequences when he does—lashing out disproportionately and dangerously—only demonstrate the futility of meeting evil with evil.

Later scenes that see the pair teaming up to protect each other by physical means, however, undercut this point, appealing simultaneously to viewers' sympathy and their baser instincts.

While the bond between Owen and Abby is mostly expressed in an age appropriate manner—we see Owen receive what is obviously his first kiss—there is an unnecessarily edgy scene in which Abby disrobes while Owen keeps his eyes closed and the duo then share a bed, though this proximity leads to nothing.

Owen also indulges his sexual curiosity in an unpleasant way, first spying on the couple who live opposite by the use of a telescope, and later peeking at Abby from behind as she gets dressed after a shower.

More fundamentally, Owen eventually makes a far reaching moral choice that, while rooted in his genuine affection for the uniquely vulnerable Abby, would nonetheless be wholly unacceptable within the context of real life.

The film contains much gory violence, a scene of voyeurism with brief graphic sexual activity and fleeting upper female nudity, about a half-dozen uses of profanity as well as some rough and a few crude and crass terms. The Catholic News Service classification is O—morally offensive. The Motion Picture Association of America rating is R—restricted. Under 17 requires accompanying parent or adult guardian.

*****
John Mulderig is on the staff of Catholic News Service.



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Mark: Most of what we know about Mark comes directly from the New Testament. He is usually identified with the Mark of Acts 12:12. (When Peter escaped from prison, he went to the home of Mark's mother.) 
<p>Paul and Barnabas took him along on the first missionary journey, but for some reason Mark returned alone to Jerusalem. It is evident, from Paul's refusal to let Mark accompany him on the second journey despite Barnabas's insistence, that Mark had displeased Paul. Because Paul later asks Mark to visit him in prison, we may assume the trouble did not last long. </p><p>The oldest and the shortest of the four Gospels, the Gospel of Mark emphasizes Jesus' rejection by humanity while being God's triumphant envoy. Probably written for Gentile converts in Rome—after the death of Peter and Paul sometime between A.D. 60 and 70—Mark's Gospel is the gradual manifestation of a "scandal": a crucified Messiah. </p><p>Evidently a friend of Mark (Peter called him "my son"), Peter is only one of the Gospel sources, others being the Church in Jerusalem (Jewish roots) and the Church at Antioch (largely Gentile). </p><p>Like one other Gospel writer, Luke, Mark was not one of the 12 apostles. We cannot be certain whether he knew Jesus personally. Some scholars feel that the evangelist is speaking of himself when describing the arrest of Jesus in Gethsemane: "Now a young man followed him wearing nothing but a linen cloth about his body. They seized him, but he left the cloth behind and ran off naked" (Mark 14:51-52). </p><p>Others hold Mark to be the first bishop of Alexandria, Egypt. Venice, famous for the Piazza San Marco, claims Mark as its patron saint; the large basilica there is believed to contain his remains. </p><p>A winged lion is Mark's symbol. The lion derives from Mark's description of John the Baptist as a "voice of one crying out in the desert" (Mark 1:3), which artists compared to a roaring lion. The wings come from the application of Ezekiel's vision of four winged creatures (Ezekiel, chapter one) to the evangelists.</p> American Catholic Blog Moodiness is nothing else but the fruit of pride.

 
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